Viewing all essays in Reviews
By Felicia Feaster
Atlanta-based, South Korean-born artist Jiha Moon’s paintings look like contained explosions, the world blown to smithereens. There’s the suggestive tang of gunpowder in the air and billowing smoke seems to dissipate as we contemplate her manic miasmas of color and form.
But look closely at Moon’s works painted on glossy Mylar, and all is not destruction and chaos. Instead there are folk tales and familiar apparitions emerging from the fog: beasts and sprites, dragons and fish, twisting trees and peeping eyeballs watching us as we watch them.
by Anthony Hawley
A Whisper of Where it Came From
MARCH 11 – JULY 24, 2016
KEMPER MUSEUM OF CONTEMPORARY ART, KANSAS CITY, MISSOURI
MARCH 15 – MAY 22, 2016
NERMAN MUSEUM OF CONTEMPORARY ART, OVERLAND PARK, KANSAS
In 2016 we’re trying to make sense of our monuments. Broken monuments, unfaithful monuments. Bloated monuments, impaired monuments. Monuments erasing centuries of history, strangely self-satisfying Facebook monuments flashing solidarity with victims of some far-off tragedy. On May 10, 2016, Poland’s Institute of National Remembrance (INR) announced the removal and relocation of nearly 500 Soviet monuments. Debates continue to flare across the southern United States over the elimination of Confederate flags and statues like the life-size one of a staunch confederate soldier in the Mason-Dixon border city of Rockville, Maryland.
by Rob Colvin, September 5, 2014
CHATTANOOGA, Tennessee — Jiha Moon was one of several artists the critic John Yau would like to have seen at the Whitney Biennial this year and didn’t. She was curated, instead, by Nandini Makrandi, at the Hunter Museum of American Art in Chattanooga. On view now is the third regional invitational the museum has hosted to feature significant works being made in its proximity. The artists are Jan Chanoweth, Alicia Henry, Phillip Andrew Lewis, Jiha Moon, Jeffrey Morton, Greg Pond, Martha Whittington, and Jered Sprecher.
by Ashton Cooper, February 10, 2014
Name: Jiha Moon
City/Neighborhood: Atlanta, Georgia
The title of your show at Ryan Lee Gallery is “Jiha Moon: Foreign Love Too.” Where did that title come from?
The body of work for my solo show with Ryan Lee Gallery is a continuation of my work from my solo show “Foreign Love,” which is now at the Weatherspoon Art Museum in North Carolina. It originated at the Museum of Contemporary Art of Georgia. As a foreigner living in the States myself, I often think about what authenticity really means and I think we often misunderstand it. The title is from this idea of how we often fall in love with what we think of as foreign or exotic to us.
by Lilly Lampe
Questions of cultural appropriation abound in Jiha Moon’s “Foreign Love Too,” her second solo exhibition at Ryan Lee Gallery (formerly Mary Ryan Gallery) in New York. In paintings, works on paper and ceramics, pop culture, art historical references and icons from the East and West collide, often fusing into hybrid symbols. These visual signifiers become inextricably linked, indicating that when cultures meet, rather than clashing, they meld, raising complicated issues of complicity.
By Stephanie Cash, September 17, 2013
“If someone threatens you and you strike a tae kwon do pose, even if you don’t know tae kwon do, they’ll think you do because you’re Asian,” says Jiha Moon. “My work does a similar thing.”
Like many artists who create work outside their native cultures, the 40-year-old Korean-born artist incorporates elements of her original and adopted homes in complex, multivalent works rich with symbolism and intrigue. Asian motifs — peonies, fiery dragon heads and calligraphy — share space with piñatas, the Starbucks mermaid, the Tiger Balm tiger and Martha Stewart scrapbooking stickers. Birds play a big role as well, from Angry Birds, lovebirds and the “Hecho en Mexico” Aztec eagle to Audubon-worthy specimens. Moon layers materials and metaphors in order to upend stereotypes and cultural assumptions, mixing East and West, high and low, fact and fiction.