Yun-Fei Ji, Hanging Garden, 2001, ink, pigment and alum on mulberry paper, 41 x 48½ inches.
Yun-Fei Ji, The Corn Field, 2001, ink, pigment, and alum on mulberry paper, 19⅝ x 18¾ inches.
Yun-Fei Ji, The Move in Ba Don, 2002, alum and mineral pigment on mulberry paper, 48¾ x 38 inches.
Yun-Fei Ji, The Singing Women, 2002, ink and watercolor on mulberry paper, 45 x 55 inches.
Yun-Fei Ji, Mishaps IV, 2000, ink, pigment, and alum on mulberry paper, 18 x 96 inches.
Yun-Fei Ji, Mishap, 2000, alum and mineral pigment on mulberry paper, 18 x 96 inches. All images courtesy of the artist.
Yun-Fei Ji is an artist living in Brooklyn, New York. His traveling exhibition Empty City, organized by Pierogi Gallery, Brooklyn, and the Contemporary Art Museum St. Louis, will travel to Washington, DC, and Boston. His paintings appear throughout the First Proof of issue 89.
Painting the fantasy of real life.
Party creates vivid pastels and transformational installations that lure viewers deep into the backstories of his subjects.
An artist working to unveil ugly truths.
Originally published in
Featuring interviews with Rodney Graham, Pierre Huyghe and Doug Aitken, Jerome Charyn and Frederic Tuten, Ben Marcus and Courtney Eldridge, Kaffe Matthews and Antony Huberman, Jonathan Caouette, Laura Linney and Romulus Linney, and David Levi Strauss and Hakim Bey.
Let me tell you first about what it was like being a Black woman poet in the ‘60s, from jump. It meant being invisible. It meant being really invisible. It meant being doubly invisible as a Black feminist woman and it meant being triply indivisible as a Black lesbian and feminist.
Audre Lorde
