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Lee Ufan, Dialogue, 2017, acrylic on canvas, 89-1/2" × 71-1/2" (227.3 cm × 181.6 cm) © 2019 Artists Rights Society (ARS), New York
Lee Ufan is recognized for his unconventional artistic processes which underscore the relationship between the viewer, the artwork, and the spaces they inhabit and for philosophical writings that challenge prevailing notions of artmaking with attention on spatial and temporal conditions.
Lee’s first one-artist exhibition occurred at Sato Gallery, Tokyo, in 1967, and coincided with the publication of The Aesthetics of Self-Contradiction, his critical examination of aesthetics, cultural production, and national identity. His drawings and paintings in the mid-1960s expressed this critique in visual form and were precursors to his From Point and From Line series, which concluded in 1984. Exhibiting a distilled visual language based on an amalgamation of Eastern and Western aesthetics and philosophy, these works emphasize system, structure, and process through fields of dots or lines to create tension between his gestures and the picture plane, while marking the passage of time.
Tuesday, August 19, 2014 By The Westfield News
Lee Ufan, Relatum - the cane of titan, 2015, steel and stone, 49" × 10' × 29-1/2" (124.5 cm × 304.8 cm × 74.9 cm), overall installation 39-1/2" × 41-1/2" × 29-1/2" (100.3 cm × 105.4 cm × 74.9 cm), stone 3" × 9' 10-1/4" × 3" (7.6 cm × 300.4 cm × 7.6 cm), steel pole © 2019 Artists Rights Society (ARS), New York
In 1968, Lee was introduced to artists Nobuo Sekine, Takamatsu Jirō, and Kishio Suga, who, with Lee, formed the Mono-ha—or School of Things—group, with Lee as Mono-ha’s leading theorist and practitioner. The group rejected Western notions of representation and emphasized material, perception, and the interrelationships between space and matter, creating works from raw, natural, and industrial materials with little manipulation. That same year, Lee presented Phenomenon and Perception B at the National Museum of Modern Art, Tokyo, his first site-specific sculptural floor-based work comprised of a heavy stone dropped on a glass plate. He would later retroactively title his three-dimensional works Relatum (1968–) to suggest an individual element within a relation defined by both space and object.
Lee Ufan, From Line, 1979, glue and mineral pigment on canvas, 64" x 51-1/4" (162.6 cm x 130.2 cm) © 2019 Artists Rights Society (ARS), New York
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By the mid-1970s, Lee had been appointed as a Professor at Tama Art University (1973–2007), prompting him to return to painting. During this period, he became a central figure in the Korean monochrome painting school known as Dansaekhwa. Defined by action and process, works from the school were characterized by repetitive minimalist gestures denoting an association between the body and temporality.
From the 1980s onward, Lee developed four additional series of paintings, From Winds (1982–86), With Winds (1987–91), Correspondence (1991–2006), and Dialogue (2006–), all of which explore the dynamic between temporality, gesture, and space. He continued to produce site-specific installations from the Relatum series, presenting monographic exhibitions of his work in museums and galleries across Europe and Japan. In 2008, Pace presented Lee’s first one-artist exhibition in the United States. After having worked with ceramics since the 1970s, Lee began a two-year residency at the Manufacture de Sèvres, France, in 2014, where he produced pieces in terracotta and porcelain. Exploring the idea of chance, collapse, and debris through fired clay, Lee welcomed the chemistry of fire as an unpredictable and autonomous actor in his creative process.
In 2010, the Lee Ufan Museum, dedicated to the artist’s oeuvre, opened on the Japanese island of Naoshima. Lee has published over seventeen books throughout the course of his career, spanning poetry, art history, philosophy, and criticism, including his essay From Object to Being (1969), for which he received a prize for critical writing.
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Lee Ufan, From Line, 1983, pigment suspended in glue on canvas, 17-15/16" × 20-7/8" (45.6 cm × 53 cm) © 2019 Artists Rights Society (ARS), New York
Lee Ufan, Relatum - expansion place, 2008, steel, stone, 10" x 87" x 10-1/2" (25.4 cm x 221 cm x 26.7 cm), 2 steel plates, each 15" x 18" x 16" (38.1 cm x 45.7 cm x 40.6 cm), dark stone 15" x 15" x 12" (38.1 cm x 38.1 cm x 30.5 cm), light stone © 2019 Artists Rights Society (ARS), New York
Lee Ufan, Relatum - The Arch of Versailles, 2014, stainless steel and two stones, 36' 6-3/16" x 49' 2-9/16" x 6' 6-3/4" (1, 113 cm x 1, 500 cm x 200 cm), overall installed © 2019 Artists Rights Society (ARS), New York
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Lee Ufan, Dialogue, 2018, acrylic on canvas, 63-3/4" × 51-3/16" (161.9 cm × 130 cm) © 2019 Artists Rights Society (ARS), New York
Lee Ufan, Dialogue, 2016, acrylic on canvas, 89-3/8" × 71-5/8" (227 cm × 181.9 cm) © 2019 Artists Rights Society (ARS), New York
Lee Ufan: 15th Anniversary of the National Art Center, National Art Center, Tokyo, August 10–November 7, 2022. Traveled as: Lee Ufan: 20th Anniversary of Hyogo Prefectural Museum of Art, Hyogo Prefectural Museum of Art, Japan, December 13, 2022–February 12, 2023.
The Indiana Gazette, Feb. 28, 2016 By Indiana Gazette Inc
Lee Ufan, Pace Gallery, 534 West 25th Street, New York, May 15–June 27 (extended through August 21), 2015. (Catalogue; text by Barbara Rose)
Lee Ufan: Print Works 1970–1998, Mitaka City Gallery of Art, Tokyo, February 14–March 29, 1998. Traveled to: Sapporo Art Park, Japan; Itami City Museum of Art, Hyogo; Ashikaga Museum of Art, Tochigi; Nigata City Art Museum. (Catalogue)
Occupy Colby: Artists Need to Create on the Same Scale That Society Has the Capacity to Destroy, Year 2, Colby College Museum of Art, Waterville, Maine, July 20, 2019–January 5, 2020.
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Artists Need to Create on the Same Scale that Society Has the Capacity to Destroy: Mare Nostrum, The Complex of the Chiesa di Santa Maria delle Penitenti Fondamenta Cannaregio, Venice, May 8–November 24, 2019.
OCCUPY MANA: Artists Need to Create on the Same Scale That Society Has the Capacity to Destroy (Year 1), Mana Contemporary, October 15–December 15, 2017.
Fired Up: Contemporary Glass by Women Artists from the Toledo Museum of Art, Mint Museum Uptown, Charlotte, North Carolina, October 22, 2016–February 26, 2017.
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River Crossings: Contemporary Art Comes Home, Thomas Cole National Historic Site and Olana State Historic Site, Hudson Valley, May 3–November 1, 2015. (Catalogue)
Beyond Earth Art: Contemporary Artists and the Environment, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, January 25–June 8, 2014.
The Lunder Collection: A Gift of Art to Colby College, Colby College Museum of Art, Waterville, Maine, July 13, 2013–June 8, 2014. (Catalogue)
Friday, February 21, 2014 By The Westfield News
Drawing Line into Form: Works on Paper by Sculptors from the Collection of BNY Mellon. Tacoma Art Museum, Washington, February 26–May 26, 2013.
The Confluence Project: Reimagining the Columbia River, with artwork by Maya Lin, Lewis-Clark State College Center for Arts & History, Lewiston, Indiana, August 26, 2011–February 10, 2012.
Animamix Biennial 2009–2010: Visual Attract & Attack, Museum of Contemporary Arts, Shanghai, December 13, 2009–January 31, 2010, Museum of Contemporary Arts Taipei, Taiwan, December 5, 2009–January 31, 2010, Today Art Museum, Beijing, November 27, 2009–January 10, 2010, and Guandong Museum of Art, January 21–February 21, 2010. (Catalogue)
Oil Painting: Animal Portraits Class Set April 29 30
Art at Colby: Celebrating the 50th Anniversary of the Colby College Museum of Art, Colby College Museum of Art, Waterville, Maine, July 11, 2009–February 21, 2010. (Catalogue)
U.S. Designs: 1975–2000, Denver Art Museum, February 26–May 26, 2002. Traveled to: Bass Museum of Art, Miami, February 15–May 10, 2003; Museum of Contemporary Art and Design, New York, June 19–September 28, 2003; Memphis Brooks Museum of Art, Tennessee, November 30, 2003–February 29, 2004. (Catalogue)
Women Designers in the USA, 1900–2000: Diversity and Difference, Bard Graduate Center for Studies in the Decorative Arts, Design and Culture, New York, November 15, 2000–February 25, 2001. (Catalogue; curated by Pat Kirkham.)
Art Around The Corner: Local Galleries Offer A Wealth Of Views To Welcome Spring
Precious Metals: Sculpture in Gold and Silver, Baldwin Gallery, Aspen, August 2000. Traveled to: Elaine Baker Gallery, Boca Raton, Florida, 2001; Galerie Simonne Sterne, New Orleans, 2001; Nohra Haime Gallery, New York, 2001.
Illusions of Eden: Visions of the American Heartland, Columbus Museum of Art, Ohio, February 18–April 30, 2000. Traveled to: Museum of Modern Art, Vienna, June 1–August 15, 2000; Ludwig Museum, Budapest, September 21–November 26, 2000; Madison Art Center, Wisconsin, February 24–May 13, 2001; Washington Pavilion of Arts and Science, Sioux Falls, South Dakota, June–August 2001.
Capturing Time: The New York Time Capsule, American Museum of Natural History, New York, December 4, 1999–March 26, 2000. (Curated by Steven Alexander.)
In Pictures: Incredible Body Painting And Wearable Art Show At Gloucester Cathedral
Urban Mythologies: The Bronx Represented Since the 1960’s, Bronx Museum of the Arts, New York, April 8–September 5, 1999. (Catalogue; curated by Lydia Yee)
The Private Eye in Public Art, La Salle Partners at Nations Bank Plaza Gallery, Charlotte, North Carolina, January 31–October 21, 1997. (Curated by Joyce Pommeroy-Schwartz.)
Sites and Solutions: Recent Public Art, Freedman Gallery, Albright College, Reading, Pennsylvania, October 12–November 18, 1984. Traveled to: Gallery 400, College of Architecture, Art, and Urban Planning, University of Illinois, Chicago, January 9–February 2, 1985. (Catalogue)
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Dafoe, Taylor. “Sculptor Maya Lin Will Release Her First NFT Project, a Generative Art Series Based on the Root Systems of Trees, This Spring.” Artnet News, 23 March 2023. https://news.artnet.com/market/maya-lin-trevor-paglen-pace-verso-art-blocks-2274588
Gyojun Lee. “Pace Gallery, Robert Mangold - Maya Lin solo exhibition... participated in ‘Art Singapore.’” (exhibition reviews). News1, 28 January 2023. https://www.news1.kr/articles/4913868
“’The Han River expressed with dozens of glass marbles’ …
