Yong Soon Min

Yong Soon Min (born 29 April 1953; Korean: 민영순; MR: Min Yŏng-sun) is a Korean-born American artist, curator, and educator.[1][2] She serves as professor emeritus at University of California, Irvine. Her artwork deals with issues including Korean-American identity, politics, personal narrative, and culture.[3][4][5] Min has been active in New York City and Los Angeles.[6][4]

Yong Soon Min
민영순
Born (1953-04-29) April 29, 1953
Bugok, located in South Korea close to Suwon.
Alma materUniversity of California, Berkeley
Known forinstallation art, photography, printmaking, mixed media

Biography

Yong Soon Min was born on 29 April 1953 in Bugok, South Korea.[1][7][8] Her family immigrated to the United States in 1960, settling in Monterey, California.[9] Min met her father for the first time around age 8, because he had moved to the United States earlier than the rest of the family.[4]

She attended the University of California, Berkeley (U.C. Berkeley), where she received her B.A. degree (1975), M.A. degree (1977), and M.F.A. degree (1979).[7][4] One of her classmates at U.C. Berkeley was artist Theresa Hak Kyung Cha.[10] In 1981, Min was part of the Independent Study Program at the Whitney Museum of American Art.[4]

Min was married to artist Allan deSouza in 1992, whom she often collaborated with on artwork.[4][7]

In 2001, she was awarded the Anonymous Was A Woman Award.[5] Other awards include the Fulbright Fellowship (2010–2011), Rockefeller Foundation Grant (2003), and the National Studio Program at P.S.1 (1991).[5]

Work

Her early work was primarily graphic or photography based; and by the mid-1980s she started to work more in installation art.[8]

Min's installation work deColonization (1991) was centered around a traditional Korean dress in white with gold lettering, placed near four panels that told the story of women in Korea during the United States occupation and an assemblage of Korean book and clay pots filled with rice.[4][11] She used the dress as a metaphor to explore her own history and identity as a Korean-American and the Korean books and clay rice pots allude to Korean Buddhism.[4][11]

See also

References
  1. "Yong Soon Min". Oxford Reference. Oxford University Press. Retrieved 2021-11-14.
  2. Kim, Elaine H. (1996). ""Bad Women": Asian American Visual Artists Hanh Thi Pham, Hung Liu, and Yong Soon Min". Feminist Studies. 22 (3): 573–602. doi:10.2307/3178131. ISSN 0046-3663. JSTOR 3178131.
  3. Cotter, Holland (1998-06-19). "Art In Review: Yong Soon Min 'Bridge of No Return'". The New York Times. ISSN 0362-4331. Retrieved 2021-11-14.
  4. Hallmark, Kara Kelley (2007). Encyclopedia of Asian American Artists. Greenwood Publishing Group. p. 125. ISBN 978-0-313-33451-1.
  5. Sorensen, Clark W.; Baker, Donald (2012-06-21). The Journal of Korean Studies, Volume 17, Number 1 (Spring 2012). Rowman & Littlefield. p. 159. ISBN 978-1-4422-3333-1.
  6. Gomez-Pena, Guillermo; Deitcher, David; Golden, Thelma (1990). The Decade Show: Frameworks of Identity in the 1980s. Museum of Contemporary Hispanic Art. p. 124. ISBN 978-0-915557-68-4.
  7. "Min, Yong Soon, 1953-". The Library of Congress, LC Linked Data Service: Authorities and Vocabularies. Retrieved 2021-11-14.
  8. Machida, Margo (2009-01-23). Unsettled Visions: Contemporary Asian American Artists and the Social Imaginary. Duke University Press. p. 150. ISBN 978-0-8223-9174-6.
  9. Taus-Bolstad, Stacy (2005-01-01). Koreans in America. Lerner Publications. p. 66. ISBN 978-0-8225-4874-4.
  10. Cheung, King-Kok; Press, Cambridge University (1997). An Interethnic Companion to Asian American Literature. Cambridge University Press. pp. 174–176. ISBN 978-0-521-44790-4.
  11. Raynor, Vivien (1991-07-21). "Art: Introspection and Obsession Fill the 1991 'Marketplace' Show". The New York Times. ISSN 0362-4331. Retrieved 2021-11-14.
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