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72-649: Thread Routes is a 16mm film series by artist Kimsooja . Divided into six chapters, Thread Routes takes place in six different cultural zones around the world. The artist considers her approach to this film as a 'visual poem' and a 'visual anthropology', in that it juxtaposes and presents structural similarities in performative elements of textile culture with the structures in nature, architecture, agriculture and gender relationships in different cultures. These non-descriptive and unnarrative documentary films were conceived after being inspired in Bruges , Belgium , in 2002, by

144-489: A 16mm film project entitled Thread Routes . Divided into six chapters, the series unfolds as an anthropological poem that takes the act of threading as a central subject. It takes place in six different cultural zones around the world, its six preliminary chapters shot in Peru, Europe, India, China, North America, and North Africa. To Breathe: Invisible Mirror/ Invisible Needle , which premiered at La Fenice , Venice in 2006,

216-478: A 5,000-square-foot (460 m ) landscaped garden designed by Nelson Byrd Woltz Landscape Architects . In 2021, Lynda Roscoe Hartigan, PEM's former deputy director and Chief Curator, became the first woman to be the Rose-Marie and Eijk van Otterloo Director and CEO of PEM. The director and CEO from 1993 to 2019 was Dan Monroe. He was succeeded on July 15, 2019, by Brian Kennedy , who previously directed

288-678: A cardinal direction in Korean tradition, took up great importance. For A Mirror Woman: The Sun and The Moon , commissioned by the Shiseido Art Foundation in 2008, Kimsooja filmed the sun setting and the moon rising along the beach of Goa, India. The artist then digitally layered an eclipse, in which the footage of the Sun and the Moon were fused together. In Earth – Water – Fire – Air , a multi-channel video projection that premiered at

360-644: A collection of rare Civil War photographs by Matthew Brady, one of the first American photographers. The collection has a vast variety of subjects and styles, from records of native life in the Philippines to photographs by Walker Evans which document the Great Depression. The museum has extensive collections of rare books, manuscripts, and ephemera in the Phillips Library . On December 8, 2017, Dan L. Monroe, PEM's director and CEO, issued

432-457: A domain name for her website, Kimsooja thought about the conceptual implications of combining her name into one word. She commemorated this act in a conceptual piece titled A One-Word Name Is An Anarchist's Name (2003). Kimsooja links this project along with sharing the importance of her name and describes this action as, "A one word name refuses gender identity, marital status, socio-political or cultural and geographical identity by not separating

504-416: A form of art practice; specifically, lending to the action of immobility the virtue of inverting an audience's linear perception of space and time. The first version of A Needle Woman presented the artist laying horizontally on a rock and it established nature and spatial orientation as a central subject in her work. As well, her use of the Korean color spectrum ( Obangsaek ), in which each color stands for

576-415: A global society that drives us as migrateurs of every society we come from and are heading toward. The Bottari Truck - Migrateurs was made of local immigrants’ bedcovers and used clothing donated from all over Paris that was loaded on top of an old French Peugeot pick-up truck. Kim started from ‘Place de la Liberation’ where Musée MAC/VAL , which commissioned the piece, is located, and at the same time which

648-575: A metaphor for her perpetual nomadic Bottari. In 2020, Kimsooja is the first contemporary artist of the 21st century to have been commissioned permanent stained glasses for the Metz Cathedral in France. In the summer of 2020, Kimsooja opened up a new installation in Wanås, Sweden called "Sowing into Painting" where she featured film, sculpture, painting, and planting. This projected was created with

720-635: A monumental 46-foot-tall sculpture commissioned and installed for the Cornell Council for the Arts 2014 Biennial on the campus of Cornell University ; and Mandala: Zone of Zero , which premiered at The Project in New York City in 2003 and consisted of the sound of Tibetan, Gregorian, and Islamic chants animating a large target-shaped jukebox. In 2019, Kimsooja takes over the City of Poitiers for

792-459: A multi-channel video projection. In A Needle Woman , the artist is seen with her back facing the camera, wearing precisely the same clothes and standing precisely the same way in various metropolises: Tokyo, Shanghai, Delhi, New York, Mexico City, Cairo, Lagos, London, Patan, Nepal (1999–2001); and in a second series of performances: Havana, Cuba; N’Djamena, Chad; Rio de Janeiro, Brazil; Sana’a, Yemen; and Jerusalem (2005). Some locations visited in

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864-490: A press release announcing that 42,000 feet (13,000 m) of historical documents would be permanently relocated to Rowley, Massachusetts ; Plummer Hall and Daland House, the two historic buildings which had housed the Phillips Library, would be utilized as office and meeting space. The museum owns 24 historic structures and gardens, some of which are concentrated in the old Essex Institute grounds which now form

936-404: A spatial sensibility and a spiritual dimension that is mirrored in lace-making. The bold, masculine, and power-oriented monumental architectural forms are revealed as similar acts to the delicate, feminine, and ephemeral textile making. The third chapter (2012) journeys to India and studies the traditions of dyeing, sewing, weaving, embroidery, tattoo and woodblock printing; juxtaposing them with

1008-477: A state of harmonious coexistence. Kimsooja represented Korea for the South Korean pavilion at the 55th Venice Biennale in 2013. For the piece entitled To Breathe: Bottari , Kimsooja wrapped the entirety of the national pavilion's interior with a translucent film that diffracted daylight, showering the internal structure with spectrums of light. Her sound piece The Weaving Factory (2004–2013) also filled

1080-530: A water tunnel), Gare du Nord, Goutte d’Or (a large African, Middle Eastern, Indian community), to the destination ‘Église Saint-Bernard’, where most of the illegal immigrants settled down and protested their right to live in France in 1996; that has become a big political issue in French society. In 1999, Kimsooja presented her most iconic work: A Needle Woman , a performance video piece that premiered at CCA Kitakyushu and further evolved in subsequent showings as

1152-703: Is a video project created in collaboration with the Hudson Guild Senior Center in Chelsea, New York, in 2009. To Breathe – A Mirror Woman , was developed for the Palacio de Cristal in Madrid in 2006, was a mirror installation that covered the flooring of the Palacio. The entire cupola of the palace was covered with a translucent film that diffracted daylight and the Palacio was also replete with

1224-536: Is just on the border of south east of Paris, where many immigrants from China, the Middle East, Africa and Europe live. She moves on to different neighborhoods of Paris, which signifies the history of immigrants in France: Ivry (large Chinese community), Place d’Italy, Bastille, Place de la Republic, Canal Saint-Martin (which used to have tents along the canal area from homeless people, now much cleaned, making

1296-705: Is one of the oldest continuously operating museums in the United States and holds one of the major collections of Asian art in the United States. Its total holdings include about 1.3 million pieces, as well as twenty-two historic buildings. After opening newly expanded spaces in 2019, PEM now ranks in the top 10 North American art museums in terms of gallery square footage, operating budget and endowment. The PEM holds more than 840,000 works of historical and cultural art covering maritime, American, Asian, Oceanic and African art, Asian export art, and two large libraries with over 400,000 books and manuscripts. In 1992,

1368-503: Is seen atop the valleys of Gwangju (formerly spelled Kwangju), South Korea, picking up scattered bedcovers on the valley's floor and wrapping them into a bundle. A year later, Kimsooja returned to the valley for the first Gwangju Biennale in Korea and scattered various clothes made of traditional Korean fabrics on the ground of a forest. This installation, made of 2.5 tons of second-hand clothes and entitled Sewing into Walking- Dedicated to

1440-487: Is the realm of "Zero," in which different faiths form a harmonious union that transcends into a space for meditation and contemplation. The many lanterns hung overhead were meant to humble the viewer and remind them of their relationship with their community. Kimsooja created Lotus: Zone of Zero in response to the Iraq War ; she wanted to create a place where different religions and people of different cultures could live in

1512-506: The 55th Venice Biennale Korean Pavilion (2013), and for the 24th São Paulo Biennale (1998), participated in Kassel Documenta 14 : ANTIDORON – The EMST Collection (2017), and has taken part in international biennials and triennials: Busan (2016, 2002), Venice (2019, 2013, 2007, 2005, 2001, 1999), Gwangju (2012, 2002,1995), Moscow (2009), Istanbul (1997), Lyon (2002), and Manifesta 1 (1996) among others. After having to pick

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1584-638: The Anhui province of China. This house, constructed during the Qing dynasty, was acquired by Nancy Berliner, at the time PEM's curator of Chinese art and culture, before being taken apart and reassembled in Salem. Among the most important in the United States, the museum's American clothing collection, with examples dating from the early 18th century to the present, represents many of New England's prominent families, including Salem's Crowninshields , who helped establish

1656-594: The Essex Institute Historic District . Five of these buildings are National Historic Landmarks and eight others are listed on the National Register of Historic Places . Some are shown in the gallery below. The full set of buildings are: Daniel Bray House, Gilbert Chadwick House, Cotting-Smith Assembly House , Crowninshield-Bentley House , John Tucker Daland House , Derby-Beebe Summer House, East India Marine Hall (integrated into

1728-842: The Peabody Museum of Salem merged with the Essex Institute to form the Peabody Essex Museum. Included in the merger was the legacy of the East India Marine Society , established in 1799 by a group of Salem-based captains and supercargoes . Members of the Society were required by the society's charter to collect "natural and artificial curiosities" from beyond the Cape of Good Hope or Cape Horn. They were also required to personally circumnavigate

1800-573: The 1820s to house its collection. This collection was acquired by the Peabody Academy of Science (later renamed the Peabody Museum of Salem) in 1867, along with the building, which continued to serve as a museum space through these mergers and acquisitions. In 2003, the Peabody Essex Museum completed a massive $ 100 million renovation and expansion resulting in the opening of a new wing designed by Moshe Safdie . This more than doubled

1872-514: The 18th and 19th centuries, regional trade and donations from prominent sea captains led to the acquisition of many significant pieces, including some associated with Kamehameha I and James Cook. PEM's collection of photography is its largest single collection by number of objects, featuring over 850,000 images. The collection began in 1840, just one year after the invention of photography. It includes work by pioneering photographers such as William Henry Fox Talbot and Antoine Claudet. It also features

1944-594: The 2009 Lanzarote Biennale, Spain, the fusion of basic elements was grasped live by the artist on the Island of Lanzarote in the Canary Island , Guatemala, and Greenland. Here, the concept of fusion enhanced the idea of earlier experiments in immobility, continually incarnated in the artist's persistent representation of permanence and impermanence, horizontal and vertical structures, the forward and backward movements of sewing. Starting in 2010, Kimsooja initiated

2016-482: The Peabody Essex Museum announced it had raised $ 550 million, with plans to raise an additional $ 100 million by 2016. The Boston Globe reported this was the largest capital campaign in the museum's history, vaulting the Peabody Essex into the top tier of major art museums. The PEM trustee co-chairs Sam Byrne and Sean Healey with board president Robert Shapiro led the campaign. $ 200 to $ 250 million will fund

2088-444: The Peabody Essex Museum's collection of Oceanic art contains over 15,000 objects in total. These objects, consisting of sculptures, weapons, clothing, and more, include pieces made from traditional Oceanic materials such as porpoise teeth, abalone, and human hair. Also worth noting is the museum's particularly substantial collection of Hawaiian art, which includes over 5,000 objects. While Salem had little direct trade with Hawaii during

2160-616: The Toledo Museum of Art. The Peabody Essex Museum's collection of African art includes approximately 3,600 objects as of 2014. The acquisition of these works began in the early 19th century, as members of the East India Marine Society collected objects from West and sub-Saharan Africa. These objects include ceremonial masks, pottery, woven baskets, and a significant collection of Ethiopian art—particularly Christian icons and metalwork, many of which are based in

2232-585: The act of travel continue to be central themes for her work Bottari Truck in Exile (1999), made on the road as a truck heaped with piles of clothing, wrapped in silk bedcovers, travelled from one location to another. Kimsooja dedicated the piece, which was presented at the Venice Biennale, to refugees of the Kosovo war. In Kimsooja's first video performance, Sewing into Walking-Kyungju (1994), Kimsooja

Thread Routes - Misplaced Pages Continue

2304-817: The ancient local housing structures in Fujian , the rice terraces of Yunnan and the landscapes of Guizhou and Hainan . Shot in 2015 in New Mexico, Arizona and Utah, Thread Routes – Chapter V explores native American textile culture and the landscape inhabited by the various groups visited. In early 2019 the last chapter was shot in Morocco. The first three chapters were presented at Guggenheim Bilbao between March and July 2015. Kimsooja Kimsooja's recent major projects include Sowing into Painting , Wanas Konst, Sweden, Traversées\Kimsooja, Poitiers, France (2019-2020), To Breathe, Public Commission for

2376-821: The archeological structures and temporary housing structures of the nomadic communities in Gujara , as well as the Step Well and the Sun Temple in Ahmedabad . In 2014, Kimsooja filmed Chapter IV in China, where she encountered the specific weaving, dyeing and garment culture of the Miao minority in the Guizhou , Hainan and Yunnan provinces. These are depicted alongside elaborate silver adornment and paper making, as well as

2448-501: The art from the artist and question humanity’s existence. Subsequent to a residency at MoMA PS1 in 1992–93, Kimsooja initiated a series of site-specific installations that found their origin in the Korean color spectrum ( obangsaek ). She created sculptures inspired from Korean bedcover cloth bundles that are associated in Korean culture with travel and migration, and may also be interpreted in her work as an allusion to restrictions on female activities. These bedcover bundles inspired

2520-506: The bricks. The sculptural elements alongside the wall installation were composed of everyday objects wrapped in Bottari cloth, such as a carrier, a doorframe, a hook, a saw, a spool, a shovel, a clothing rack, or a ladder. While any kind of fabric can be used to make bottari , Kimsooja favours second-hand clothes to allude to the passage of time and the objects’ previous life before they were transformed into works of art. The bottari and

2592-557: The bulk of the collection, which began in the 18th century with exports acquired by New England traders. Even before the founding of the East India Marine Society , missionaries such as Reverend William Bentley were collecting sculptures, fans, and other pieces that would form the foundation of the museum's collection. The largest piece at the museum is the Yin Yu Tang House, a late 18th century home from

2664-707: The city as a seafaring hub. Among its areas of strength are military uniforms, a collection established by the Essex Institute following the end of the American Civil War in 1865, and significant holdings representing the work of notable designers, dressmakers and milliners, including Alexander McQueen , Rei Kawakubo , Jamie Okuma , and hundreds of pieces from legendary fashion icon, Iris Apfel . The Peabody Essex Museum's collection of Indian art includes over 5,000 objects. It also possesses numerous works of Tibetan and Nepalese origins, along with perhaps

2736-600: The collection. The museum's New England heritage has brought it an especially large array of decorative arts from the Northeastern United States. Many of these objects were initially collected by the Essex Institute, which was dedicated to preserving the cultural and physical history of Essex County. The museum's collection of Chinese art, which includes over 6,000 objects, features contemporary and ancient works as well as works by minority nationalities within China. Ceramics, textiles, and calligraphy form

2808-437: The conduct of social life because they conveyed values, fulfilled wishes, provided access to deities and ancestors, taught lessons and conferred prestige". By the end of the 18th century, coinciding with the museum's 1799 founding, Salem was one of the nation's most prosperous seaports, and extensive trading of furs, spices, dyes, and other goods brought much wealth to the region. This long legacy of trade contributed greatly to

2880-542: The connection between people and their geographical environment. Chapter II, which finished filming in the summer of 2011, focused on European lace making actions such as bobbin lace-making from Bruges (Belgium), Lepoglava and Pag ( Croatia ); industrial lace-making in Calais ( France ); needle point lace-making by nuns in a monastery in Hvar ( Croatia ) who use threads from dry aloe leaves; and traditional needlepoint on

2952-653: The currently installed collection is a recreation of a room in Cleopatra's Barge, an opulent yacht which was built by Salem's Crowninshield family and eventually became the royal yacht of King Kamehameha II . PEM's collection of Native American art includes over 20,000 objects, spanning a wide variety of tribal affiliations and time periods. The collection includes masks, textiles, jewelry, clothing, sculpture, and more, along with many pieces by contemporary Native American artists such as Frank Day and Kay WalkingStick. The origins of PEM's collection can be traced to even before

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3024-547: The fabric of humanity and nature. In Cities on the Move – 2727 km Bottari Truck, Kimsooja sits atop a mound of bottari being transported across the country. Documenting part of her 11-day performance on her journey to places she resided before she made a cultural exile from Korea to New York at the end of the 1990s. In 2007, Kimsooja records her performance in Paris, where she contemplates our reality of constant migration in

3096-512: The family name and the first name..." Kimsooja alluded to the struggles and challenges she once faced in finding her voice and expanding her artistic vision. By adopting the single word name, she not only established herself as a "less is more" contemporary artist but also claimed her name as hers and hers alone. While in University, Kimsooja discovered her love for understanding the connection of aesthetics and human psychology which lead to

3168-519: The first edition of Traversées, a new international artistic and cultural event, closely linked to the fate of a major landmark, the Palace of the Dukes of Aquitaine, and its surrounding district, the heart of the city's history and heritage. For Traversées\Kimsooja, curated by the artistic directors Emma Lavigne and Emmanuelle de Montgazon, the artist presented more than a dozen specific installations within

3240-469: The first phase of the building project, which included master planning and the renovation of the museum's Dodge wing, which was scheduled to open in November 2013. On September 28, 2019, the museum opened a new 40,000-square-foot (3,700 m ) wing designed by Ennead Architects, adjacent to East India Marine Hall. This addition included 15,000 square feet (1,400 m ) of Class A galleries as well as

3312-479: The foundation and growth of PEM's maritime art collection, which is among the finest of its kind in the country. The collection includes over 50,000 objects, including paintings, model ships, scrimshaw, and more. Many diverse styles and periods of maritime art are on display in the collection, from navigational tools such as sextants to modern marine art, which addresses "nostalgic themes" and represents "the seafaring life of previous times". One significant feature of

3384-493: The gallery space to 250,000 square feet (23,000 m ), which allowed the display of many items from its extensive holdings, previously unknown to the public due to lack of exhibition space. At this time, the museum also opened to the public the Yin Yu Tang House , an early 19th-century Chinese house from Anhui Province that had been disassembled in its original village and reconstructed on the museum grounds. In 2011,

3456-424: The globe, and share navigational discoveries with other Society members, thereby increasing their chances of returning from their voyages safely. Due to the institution's age, the items they donated to the collections are significant for their rare combination of age and provenance. The East India Marine Society built East India Marine Hall , a National Historic Landmark now embedded in the museum's facilities, in

3528-426: The historic monuments of the city, including Archive of Mind (2019), To Breathe (2019), To Breathe - The Flags (2019), and Bottari 1999-2019 (2019) consisting in a shipping container painted using Obangseak colors and filled with the artist's personal belongings, accumulated in her New York apartment over twenty years. Kimsooja wraps her belongings in a container, and transports them from one continent to another,

3600-472: The idea of, "By planting a field of flax plants, she metaphorically encapsulates the entire cycle of material production and considers the interplay of impermanence and perpetuity, and of life and art. These plants, which are grown and harvested in a period of several months, will transform into paintings that could last for centuries." In 2023, a permanent artwork at Mairie de Saint-Ouen metro station in Paris

3672-481: The main museum), Gardner-Pingree House and Gardner-Pingree Carriage House, Lyle-Tapley Shoe Shop, Dodge Wing of the Peabody Essex Museum, Asian Export Art Wing of the Peabody Essex Museum, Peirce-Nichols House , Samuel Pickman House , Plummer Hall , Quaker Meeting House , L. H. Rogers Building, Ropes Mansion , Andrew Safford House , Summer School Building, Vilate Young (Kinsman) House, and John Ward House . Some of these properties are open to guided tours. Among

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3744-810: The most important collection of contemporary Indian art outside of India. PEM's Herwitz Gallery, opened in 2003 and named to honor art collectors Chester and Davida Herwitz, is the first American museum gallery dedicated to modern Indian art. PEM's collection spans a wide array of eras and mediums, forming a detailed record of India's artistic transformations during colonial rule and its aftermath. As PEM's ex-curator of South Asia and Korean Art Susan S. Bean observed, "the global development of industrial production brought machine-woven textiles, printed images, and photography into competition with handlooms, sculpture, and painting", all of which are art forms well represented throughout PEM's collection. Featuring approximately 18,300 objects, PEM's collection of Japanese art began with

3816-559: The motive behind many of her works. Kimsooja references, from her first work to her most recent, how humans react to fabric, paint, sculpture and more, and how we experience the world as humans. Kimsooja's "Sewing" series (1983–1992), her first work with fabric, brought forth an assemblage of systems of horizontals and verticals. Her use of fabric evoked bottari cloth, a traditional Korean wrapping cloth, typically made and used by women. She utilized fabric forming cruciform structures that synthesized an entangled and knotted vision of society and

3888-519: The museum's 175,000-square-foot (16,300 m ) expansion bringing the total square footage to 425,000 square feet (39,500 m ). In May 2012, the PEM confirmed that its expansion would not be finished until 2019, due to the unexpected death of museum architect Rick Mather in April 2012 and the search for his replacement. The firm of Ennead Architects (New York) was chosen after successfully completing

3960-673: The museum's 1799 founding: the maritime fur trade, as well as the trading of iron to local tribes, made the exchange of art objects a frequent occurrence. As Richard Conn writes, "in some cases, objects of considerable importance were given by their native owners as gifts to their European trading partners. The intent here was probably to enhance the trading relationship and to insure that the Yankee or British ship would return next year with more iron." Featuring objects from over 36 different groups of islands in Polynesia, Melanesia, and Micronesia,

4032-637: The museum's inception in 1799. Its collections of work from the Edo period and Meiji period are particularly robust, featuring armor, sculpture, painted scrolls, furniture, and more. Much of the collection has its origins in the travels of Edward S. Morse, the third director of the museum, who acquired many pieces over the course of three trips to Japan. Morse also helped raise interest in Japanese art in Massachusetts and New England: as Midori Oka states, Morse

4104-1393: The new metro station Mairie de Saint-Ouen in Paris (2020), 21st century new stained-glass commission for the Saint-Etienne Cathedral in Metz, France (2021), Asia Society Triennial, New York (2020). Kimsooja has exhibited in major museums and institutions around the world, including Peabody Essex Museum (2019); Yorkshire Sculpture Park and Chapel (2018-2019); Perth Institute of Contemporary Arts (2018); Kunstmuseum Liechtenstein (2017); MMCA Korea (2016); Centre Pompidou Metz (2015); Guggenheim Museum Bilbao (2015); Vancouver Art Gallery (2013); Museum of Modern Art Saint-Etienne (2012); Pérez Art Museum Miami (PAMM) (2012); Baltic Center for Contemporary Art Gateshead, UK (2009); BOZAR , Brussels (2008); Crystal Palace, Museum Reina Sofia , Spain (2006); The National Museum of Contemporary Art, Athens (2005); Kunstmuseum Palast Düsseldorf (2004); Museum of Contemporary Art in Lyon (2003); PAC Milan (2003); Kunsthalle Wein (2002); Kunsthalle Bern (2001); MoMA PS1 (2001); Rodin Gallery , Leeum Samsung Museum of Fine Art (2000); ICC Tokyo (2001); and CCA Kitakyushu (1999). Kimsooja represented Korea for

4176-404: The pavilion with the sound of the artist inhaling and exhaling. These aspects of light and sound were further heightened by To Breathe: Blackout (2013), an anechoic chamber where the audience would be cast in complete darkness and devoid of sound except for that of the viewer's own body. Other notable public commissions include: A Needle Woman: Galaxy was a Memory, Earth is a Souvenir (2014),

4248-548: The performative elements of traditional lace making , and the city's architectural structure. The first chapter, completed in 2010, explores Peruvian weaving culture, and its tight alignment with its landscapes and historic archeological structures. This piece journeys throughout the country, from the Sacred Valley around Cusco and Machu Picchu to the Taquila Island villages, forming a non-linear timeline of

4320-785: The small island of Burano ( Italy ). These scenes are set against representative European architecture such as the Duomo in Milan ; the Eiffel Tower in Paris ; and the Sedlec Ossuary in Kutna Hora ( Czech Republic ), which is decorated by human bones and skulls. Local vegetation and flowers overlap with scenes from La Alhambra in Granada ( Spain ) which, in its detailed and complex decorative Islamic architectural forms, conveys

4392-440: The sound of the artist's breathing. In Lotus: Zone of Zero was first installed at Palais Rameau , Lille, Kimsooja hung six rows of concentric circles consisting of 384 temple lanterns in the shape of lotus blossoms from the glass pavilion. Six speakers aligned the circle simultaneously played Gregorian , Tibetan , and Islamic chants, which echoed throughout the room and united at the hollow center. According to Kimsooja, this

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4464-408: The title of a number of sculptures and installation works that Kimsooja titled after the Korean word, bottari , that intimates the idea of travel but also refers to concepts of wrapping and unfolding. In 1992, the installation Deductive Objects , shown at MoMA PS1 , took up an entire brick wall where small torn pieces of used Korean bedcover fabric were inserted by the artist in tiny holes between

4536-615: The traditional association between female labor and needlework in Korean culture along with the dynamics of civic and domestic power and the noticeable disconnect of public and private space. Growing up female in South Korea during the mid to late 1990s, Kimsooja created work that many Korean women could relate to through their collective attempts to remove themselves from the patriarchal social systems at play. With such media she intertwines tradition with contemporary art and feminism in South Korea. Kimsooja’s work forces spectators to separate

4608-740: The traditions of Byzantine art . In 1812, Salem became the headquarters of the American Board of Commissioners for Foreign Missions , which went on to establish missions throughout the continent. These missions facilitated trade, particularly with the Zulu in South Africa, and contributed significantly to the growth of the collection. PEM's extensive collection of American art includes over 1,000 portraits, among them works by John Singer Sargent , Fitz Henry Lane , and James Bard . Furniture, folk art, and needlework are also prominent features of

4680-415: The victims of Kwangju , commemorated the victims of the suppression of a democratic protest in Gwangju in 1980. This work established an analogy between the structure of fabric and that of the land, which was of particular importance in terms of confirming the three-dimensionality and spatial topology of fabric in Kimsooja's work, as well as establishing her body in performance as a needle that weaves through

4752-404: The work are places of violence, disrepair, or unresolved conflict, lending to the needle a metaphoric function as an instrument of healing. Also in A Laundry Woman (2000), a performance video piece shot in India, Kimsooja is seen immobile and standing in front of a river where debris seemingly drift. A Needle Woman and A Laundry Woman exposed the artist's stances on non-doing and immobility as

4824-485: The world into a system of horizontals and verticals. Like the Spatialist painter Lucio Fontana , who pierced the uni-colored canvas with a sharped-edged dagger, Kimsooja also made art that was no longer a screen of illusion but a three-dimensional structure as she weaved through the surface of the work, piercing holes into it. These early sewn works, in turn, were inspired by the fabric and clothes that her grandmother had owned, while also fueled by Kimsooja's own interest in

4896-403: Was "instrumental in influencing the area intellectuals and connoisseurs to turn their interests to Japanese art". The Peabody Essex Museum has approximately 1,800 pieces of Korean art in its collection, including ceramics, textiles, and painted screens. The collection began in 1883, as the result of a collaboration between museum director Edward Sylvester Morse and Korean scholar Yu Kil-chun, who

4968-482: Was a member of the first official Korean delegation to the United States. Much of the collection consists of art of the Joseon dynasty, which occupied the transitional period between the traditional Korean empire and modernity. Many of the pieces in the collection, particularly those from the Joseon period, display the centrality of art in the habits, rituals, and ceremonies of everyday Korean life. As former PEM curator Susan S. Bean observes, art objects were "essential to

5040-625: Was a nine-minute video projection of a color spectrum that filled the entirety of the theater's stage. A five-channel audio track entitled The Weaving Factory (2004) accompanied the piece, forming a couplet of inhalation and exhalation of the artist's own breathing that became increasingly less agile as the color spectrum continued its gestation. Over the last two decades, Kimsooja has developed works that uses lights and color–in parallel to Obangseak color spectrum, which represents 5 cardinal directionality in Korean philosophy–in response to many historical and modern buildings. A Lighthouse Woman (2002)

5112-546: Was a site-specific installation where Kimsooja used light, color, and sound to transform the abandoned lighthouse in Morris Island (Charleston, South Carolina) for the 2002 Spoleto Festival . A Lighthouse Woman inaugurated a series of work the artist created as memorial projects that includes: Sewing Into Walking - Dedicated to the victims of Kwangju (1995); Planted Names (2002); Mandala: Chant for Auschwitz (2010); and A Mirror Woman: The Ground of Nowhere (2003). Another commemorative work, Kimsooja's An Album: Hudson Guild ,

5184-473: Was unveiled. "To Breathe" comprises glass walls that diffract light, installed in the station concourse. Peabody Essex Museum The Peabody Essex Museum (PEM) in Salem, Massachusetts , US, is a successor to the East India Marine Society , established in 1799. It combines the collections of the former Peabody Museum of Salem (which acquired the Society's collection) and the Essex Institute . PEM

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