5 artists on our radar in June 2022


Art Editorial

“Artists on Our Radar” is a monthly series produced by the Artsy team. Using our artistic expertise and access to Artsy data, we’re spotlighting five artists who are catching our attention. To make our selections, we determined which artists made an impact in the past month through new gallery showings, exhibitions, auctions, art fairs or new work on Artsy.

Born in 1991, Taipei. Lives and works in New York.

With a background in fashion and visual arts, Taiwanese artist John Yuyi started making and selling temporary tattoos to fund his visa after interning with Jason Wu in New York. Impactful tattoos have become an integral part of Yuyi’s photographic practice. Her models, sometimes models, sometimes herself, are covered in it to comment on consumer culture and the effects of social media.

In Wear NIKE 7 (2018), featured in Yuyi’s eponymous solo exhibition opening June 10 at Galerie Christophe Guye in Zurich, a figure bears the iconic slogan “Just Do It” inscribed on her bare chest. The Nike logo also appears on his face and neck alongside computer icons and pop-up browsers from the 2000s, illustrating how we construct our identities in the post-internet era through brand affinity.

During this time at Tinder match 2 (2016), a young woman with “It’s a match!” printed on her cheek and “NOPE” on her forehead poses for the camera. The work demonstrates how social media validation has become a potential source of identity construction and self-esteem measurement.

Yuyi’s photographs both engage with and critique how internet culture has shaped our perception of ourselves and others. She has exhibited in group exhibitions in New York, Paris, Taipei and elsewhere, and is Artist-in-Residence 2021-2022 at the Silver Art Project in New York.

—Isabelle Sakelaris

Born in 1936, Shigaraki, Japan. Lives and works in Shigaraki, Japan.

The work of ceramic artist Yasuhisa Kohyama is deeply rooted in the history of craftsmanship and her heritage in her native Japan. His sometimes organic, sometimes geometric forms were the subject of a solo exhibition at Officine Saffi in Milan earlier this year, and are currently on display in a group exhibition at browngrotta arts in Wilton, Connecticut.

Focused on ancient hand-building and wood-firing practices and deeply influenced by Jomon, Shigaraki and Yayoi pottery, Kohyama keeps the past alive by creating stoneware pieces that are both raw and elegant, unmistakably earthly yet almost extraterrestrial. Although he never uses glazes in his work, his vessels take on a variety of hues when fired in the anagamakiln he built, the first of its kind built in the region since the Middle Ages.

Kohyama studied as an apprentice with ceramic designer Sakuzo Hineno and taught at the Cleveland Institute of Art; School of the Boston Museum of Fine Arts; and Office for the Arts at Harvard; among other schools. His work is in the collections of the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Los Angeles County Museum of Art, the Yale University Art Gallery, and many other institutions.

—Brian P. Kelly

B. 1988, McAllen, TX. Lives and works in Los Angeles.

Carlos Jaramillo’s photographs document the daily physical labor involved in Latin American culture and life. In his 2018 solo exhibition “Beyond Bars” at the Gallery at W83 in New York, Jaramillo flipped the script on common tourist images of Peru to tenderly chronicle, via portraits, life within and just beyond. of Lurigancho, a prison in Lima.

For his current solo show “Tierra del Sol,” or Land of the Sun, Jaramillo has turned New York’s Selenas Mountain into a rodeo. On the gallery walls are Jaramillo’s images of the annual “El Clásico de las Américas” charrería in Pico Rivera, California. A charrería is a Mexican rodeo tradition that features the horsemanship, performance, costume, and athleticism of early cattle herding activities in the haciendas of Old Mexico. In these photographs, Jaramillo humanizes often overlooked work for the spectacle of sport through intense, fragmented close-ups of performers’ bodies.

Jaramillo received a BFA from the School of Visual Arts and his photographs have been featured widely in popular magazines and publications including The New York Times, the new yorker, Los Angeles Timeand Museum Magazine. He was the 2022 recipient of the Forest Lawn Museum Arts Fellowship.

—Ayanna Dozier

Born in 1984 in Brovary, Ukraine. Lives and works in Kyiv.

Zhanna Kadyrova has become famous for her practice of transforming familiar building materials, such as industrial tiles, glass and stone, into impressive conceptual sculptures that take aim at the Soviet history of her native Ukraine. In a new work that responds to the invasion of Ukraine by Russian forces on February 24, Kadyrova focuses on the Ukrainian people at this time.

After the invasion, Kadyrova left her home in Kyiv and headed west, settling in a village near the Hungarian border, where she set up a studio and gallery. There, a number of large, smooth stones in a river caught Kadyrova’s eye. They resembled the simple round wheat loaves found across Ukraine and sparked the idea for a new body of work – “Palyanitsia”, the Ukrainian word for bread.

Palyanitsia has become a kind of shibboleth. The hard-to-pronounce word is used by Ukrainians to distinguish Russian enemies from Ukrainian comrades. Inspired by the symbolism, Kadyrova gathered the stones and cut them into chunks and slices, while leaving some whole. The resulting sculptures are exhibited in Venice until June 30 in a special exhibition sharing the name of the series, presented by the Galleria Continua on the occasion of the Biennale; and were previously exhibited in Berlin at the König Galerie. Kadyrova donates 100% of proceeds to voluntary organizations and her peers who stayed in Kyiv to join the defensive forces. So simple, yet so effective, the works are stark reminders of the devastating loss of life, displacement and destruction.

A graduate of the Taras Shevchenko art school in Kyiv, Kadyrova has received numerous international accolades for her work, including the main PinchukArtCentre prize in 2013. She has been presented at the 55th, 56th and 58th editions of the Venice Biennale, including the 2019 international exhibition “May You Live in Interesting Times”. Her work has been exhibited in major institutions and galleries, including the Galleria Continua, the Baró Galeria, the Shanghai International Sculpture Project JISP, the Palais de Tokyo, the Center Pompidou and the Pinchuk Art Centre, where, before the current conflict, she was to stage his first career retrospective in 2023.

—Casey Lesser

Born in 1981, Brooklyn. Lives and works in Nashville.

Emily Weiner’s paintings, often housed in custom-made frames, are rich in symbolism and historical allusions. As Weiner described in his artist statement, “my works configure material icons, geometries, and patterns that have been revived, reshaped, and recoded over time.” Reusing the past while creating a contemporary lexicon of her own, Weiner eagerly explores a wide range of aesthetic avenues.

In Cassandra (2022), a terracotta frame borders a painting of an ancient Greek red-figure krater, while in Mundus Inversus (2022), a maple frame draws a shimmering moon peeking through a pair of blood-red curtains. These works evoke artists from all over the history of art – from Euphronios to Georgia O’Keefe to Jonas Wood – while refusing to be pinpointed by any particular era.

Weiner received a BA from Barnard College and an MFA from the School of Visual Arts. She has been exhibited at Columbia University’s LeRoy Neiman Gallery, CULT | Aimee Friberg and Grizzly Grizzly exhibitions. His work has recently been included in group exhibitions at the Red Arrow Gallery, including “SHOW UP!” and “Mundus Inversus”.

—Brian P. Kelly

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