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.
The artist talks about his film Joan Mitchell: Departures and its relation to Eternalism.
The writer and visual artist discuss their work, experience as black creatives, and mutual love for Toni Morrison.
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.
I don’t think an artist and a shaman actually have that much difference if we go back, way back, in time. Today, it’s just gotten so wrapped up in intellectual stuff that we’ve gotten far away from a basic truth about what artists do in the world.
Lucy Dodd
