
BYRON KIM
B.Q.O. 11, 2020
Acrylic on canvas mounted on panel
36 x 24 in
91.4 x 61 cm
JCG12012
BYRON KIM
B.Q.O. 4, 2020
Silkscreen and acrylic on canvas mounted on panel
36 x 24 inches
JCG11999
BYRON KIM
B.Q.O. 1, 2020
Silkscreen and acrylic on canvas mounted on panel
36 x 24 inches
JCG11996
BYRON KIM
Synecdoche: Adam Xinming Rich, Betty Stolpen, Christy Putnam, Claire Henry, Darryl Atwell, David Gariff, Eric Pullett, Esther Kwon, Heidi Hinish, Nathalie Ryan, Joseph Hudson, Julie Springer, Lara Moynagh, Laurie Peruyero, Linda Daniel, Lorryn Moore, Michelle Donnelly, Megan Liberty, I.D Aruede, Ruth Lizardi, Suzanne Akhavan Sarraf, Téa Chai Beer, Wendy Barbee, William Whitater, Yoav Silverstein
1991-present
wax and oil on panel
10 x 8 in. each
25.4 x 20.3 cm each
JCG11119
BYRON KIM
누가 빨강, 노랑, 파랑을 무서워하는가?
(Who’s Afraid of Red, Yellow and Blue?)
2018
Encaustic, acrylic on canvas on wood panels
Installation Dimensions:
80 x 36 in.
JCG10255
BYRON KIM
Sky Blue Flag
2018
Indigo dyed ramie, flag pole.
Entrance of Soi Mountain, Cheorwon, Gangwon-do; Entrance of James Cohan, New York,
Commissioned by the Real DMZ Project.
55 x 93 in.
JCG10242
BYRON KIM
Sky Blue Flag
2018
Indigo dyed ramie, flag pole
55 x 93 in.
139.7 x 236.2 cm
JCG10242
Entrance of Soi Mountain, Cheorwon, Gangwon-do, commissioned by the Real DMZ Project.
BYRON KIM
Blue Lift Sandlewood Fall
2016
Dyed canvas
62 1/4 x 48 in.
158.1 x 121.9 cm
JCG8744
BYRON KIM
Pathos Cosmos
2016
Glue, oil, and pigment on dyed canvas
18 x 15 in.
45.7 x 38.1 cm
JCG8923
BYRON KIM
Evidence of a Struggle
2016
Glue, oil and pigment on canvas
65 x 53 in.
165.1 x 134.6 cm
JCG8912
BYRON KIM
Maybe a Shadow Will Save You
2016
Glue, oil and pigment on dyed linen
60 x 46 in.
152.4 x 116.8 cm
JCG8910
BYRON KIM
Stain, Methylene Blue
2016
Oil on dyed linen
24 x 25 in.
61 x 63.5 cm
JCG8748
BYRON KIM
Four Eagle Feathers
2015
Pigment, glue and oil on panel
24 x 26 x 1 3/4 in.
61 x 66 x 4.5 cm
JCG7917
BYRON KIM
Swastika
2015
Pigment and glue on panel
16 x 15 3/4 x 1 5/16 in.
40.6 x 40 x 3.3 cm
JCG8799
BYRON KIM
A Man a Plan a Canal Panama
2015
Pigment, glue and shellac on panel
14 3/4 x 33 3/4 x 1 5/16 in.
37.5 x 85.7 x 3.3 cm
JCG7908
BYRON KIM
Pond Lily 1
2015
Pigment and glue on panel
12 1/2 x 10 x 1 1/4 in.
31.8 x 25.4 x 3.2 cm
JCG7890
BYRON KIM
Black Waves #3
2015
Pigment, glue and shellac on panel
18 x 22 1/2 x 1 1/2 in.
45.7 x 57.2 x 3.8 cm
JCG7940
BYRON KIM
Trinity, 16 Milliseconds After Detonation
2015
Pigment and glue on panel
12 x 17 x 1 5/16 in.
30.5 x 43.2 x 3.3 cm
JCG7923
BYRON KIM
Layl Almadina (Halo 2)
2015
Acrylic on canvas mounted on panel
60 x 48 in.
152.4 x 121.9 cm
JCG7636
BYRON KIM
Layl Almadina (Halo 3)
2015
Acrylic on canvas mounted on panel
60 x 48 in.
152.4 x 121.9 cm
JCG7635
BYRON KIM
Sunday Painting 9/29/15, 2015
Acrylic and pen on canvas mounted on panel
14 x 14 in.
35.6 x 35.6 cm
JCG8791
BYRON KIM
Sunday Painting 2/22/16, 2016
Acrylic and pen on canvas mounted on panel
14 x 14 in.
35.6 x 35.6 cm
JCG8785
BYRON KIM
Sunday Painting 4/3/16, 2016
Acrylic and pen on canvas mounted on panel
14 x 14 in.
35.6 x 35.6 cm
JCG8790
BYRON KIM
Untitled (for A.D.C.)
2011
Acrylic on canvas
90 x 72 in.
228.6 x 182.9 cm
BYRON KIM
Untitled (for J.B.)
2010
Acrylic on canvas
90 x 72 in.
228.6 x 182.9 cm
JCG5116
BYRON KIM
Untitled (for J.S.)
2011
Acrylic on canvas
90 x 72 in.
228.6 x 182.9 cm
JCG5364
BYRON KIM
Irwin's Disc (Pictures of Nothing)
2008
Acrylic on canvas
72 x 82 in.
182.9 x 208.3 cm
JCG5114
BYRON KIM
Delacroix's Shadow
2008
Flasche on panel and latex; shadow on wall
25 x 60 in.
63.5 x 152.4 cm
BYRON KIM
After Sun in an Empty Room
2008
Oil and alkyd on canvas
31 x 132 in.
78.7 x 335.3 cm
BYRON KIM
U.N. Building (Looking Downtown)
2007
Acrylic on canvas
48 x 68 in.
121.9 x 172.7 cm
BYRON KIM
U.N. Building (Looking Uptown)
2008
Oil on canvas
48 x 70 in.
121.9 x 177.8 cm
BYRON KIM
Flight of the Kingfisher
2007
Oil on canvas
3 pieces: 84 x 60 in., each
213.4 x 152.4 cm, each
BYRON KIM
Emmett at Twelve Months #2
1994
Egg tempera on panel
Each: 3 x 2 1/2 x 3/4 inches
7.6 x 6.4 x 1.9 cm
Installed: 17 x 14 1/2 x 3/4 inches
43.2 x 36.8 x 1.9 cm
BYRON KIM
Palms (Head Over Heart)
2005
Oil on linen
60 x 126 in.
152.4 x 320 cm
BYRON KIM
Whorl (Ella and Emmett)
1997
Egg tempera on panel
Left: 4 1/4 x 4 in.; right: 4 3/4 x 4 1/2 in.
Left: 10.8 x 10.2 cm; right: 12.1 x 11.4 cm
BYRON KIM
6 Halsey Drive, Wallingford, CT 06492
1995
House paint on plywood
96 x 48 in.
243.8 x 121.9 cm
BYRON KIM
Mother
1994
BYRON KIM
Synecdoche
1991-present
Oil and wax on panel
10 x 8 in.
25.4 x 20.3 cm
each overall dimensions variable
Photo: Dennis Cowley. Whitney Biennial 1993.
Collection of the National Gallery of Art, Washington, D.C.
Installation view, Byron Kim, Sunday Paintings, 1/7/01 to 2/11/18, James Cohan, 533 West 26th St, January 5 - February 17, 2018.
Like the artists whom he admires, Ad Reinhardt, Mark Rothko and Agnes Martin, Byron Kim works in an area one might call the abstract sublime. His work sits at the threshold between abstraction and representation, between conceptualism and pure painting. In his richly hued, minimalist works, Kim seeks to push the edges of what we understand as abstract painting by using the medium to develop an idea that typically gets worked out over the course of an ongoing series. Kim’s paintings often appear to be pure abstractions, but upon investigation, they reveal a charged space that often connects to the artist’s personal experiences in relation to larger cultural forces. Interviewed in his sunny Brooklyn studio, Kim quips, “I’m a painter until 2:00 in the afternoon when the daylight in my studio is so blinding that I become a conceptual artist.”
Synecdoche is Kim’s signature work, which was started in 1991 and exhibited in the Whitney Biennial in 1993, is in the permanent collection of the National Gallery in Washington, DC. Comprised of a grid of hundreds of panels depicting human skin color, the work is both an abstract painting in monochromes and a group portrait. His ongoing series of Sunday Paintings, in which he records the appearance of the sky every week along with a diary entry, juxtaposes the cosmological with the quotidian.
Kim’s mid-career survey, Threshold traveled widely from the Berkeley Art Museum, CA to the Samsung Museum of Modern Art in Seoul and on to five other locations in the United States (2006/7). He was included in the landmark exhibition Color Chart: Reinventing Color, 1950 to Today, at the Museum of Modern Art, NY and Tate Liverpool, UK (2008/9). Works from his Sunday Paintings series were on view at the Brooklyn Museum in the exhibition Unfolding Tales: Selections from the Contemporary Collection. In 2014 he was included in the exhibition Come As You Are: Art of the 1990s at the Montclair Art Museum which travelled to Telfair Museums, the University of Michigan Museum of Art, and the Blanton Museum of Art at the University of Texas, Austin. In 2015, Kim’s work was presented at the Sharjah Biennial 12 (United Arab Emirates) and in a solo exhibition at the Museum of Contemporary Art San Diego titled Pond Lily Over Mushroom Cloud: Byron Kim Adapts the Black on Black Cosmology of Maria Martinez. In 2016, Kim was included in the group show Human Interest: Portraits from the Whitney’s Collection at the Whitney Museum of American Art, NY. In 2018, his work was presented at the 12th Gwangju Biennale in Gwangju, South Korea. A significant selection of Kim’s Sunday Paintings were exhibited in Byron Kim: The Sunday Paintings at the Museum of Contemporary Art Cleveland in Ohio in late 2019. Kim's work will be featured in the forthcoming exhibition Artists and the Rothko Chapel: 50 Years of Inspiration at the Moody Center for the Arts at Rice University, which opens in January 2021.
Byron Kim, born in 1961, is a Senior Critic at Yale University. He received a BA from Yale University in 1983 and attended Skowhegan School of Painting and Sculpture in 1986. Among Kim’s numerous awards are the Louise Nevelson Award in Art, American Academy of Arts and Letters, NY (1993), the New York Foundation for the Arts Grant and the Louis Comfort Tiffany Foundation Award (1994), the National Endowment of the Arts Award (1995), the Joan Mitchell Foundation Grant (1997), and the Alpert Award in the Arts (2008). His works are in the permanent collections of the Albright-Knox Art Gallery, Buffalo, NY; the Art Institute of Chicago, IL; the Berkeley Art Museum, Berkeley, CA; the Blanton Museum of Art, Austin, TX; the Brooklyn Museum, Brooklyn, NY; the Hirshhorn Museum, Washington D.C.; the M+ Museum, Hong Kong; the Museum of Contemporary Art San Diego, La Jolla, CA; the National Gallery of Art, Washington, DC; the Norton Family Collection, Santa Monica, CA; the Pérez Art Museum, Miami; the San Francisco Museum of Modern Art, San Francisco, CA; the Tate Modern, London, UK; the Wadsworth Athenaeum, Hartford, CT; the Walker Art Center, Minneapolis, MN; the Whitney Museum of American Art, NY; and the Worcester Art Museum, Worcester, MA