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Kim Yun Shin at work in her studio, 2023. Courtesy the artist, Lehmann Maupin, New York, Seoul, and London; and Kukje Gallery, Seoul and Busan. Ninety-year-old pioneering Korean artist Kim Yun Shin’s first major solo exhibition at Lehmann Maupin (through May 31) follows a breakthrough 2024 for the artist. Last year a group of Kim’s stone and wood sculptures was included in the Venice Biennale and she joined Lehmann Maupin’s roster, marking her first time being represented by a commercial gallery in her nearly seven-decade career blending sculpture, painting, and philosophy. As one of South Korea’s first female sculptors to receive formal training, she has influenced generations of artists through her innovative use of materials and conceptual rigor, and continues to actively paint and wield a chainsaw to craft deeply meditative wood sculptures. This show is a mini survey of work from 1980 to the present, including paintings and sculptures with expressive, patternlike carvings, some in Algarrobo wood indigenous to Kim’s adoptive home of Argentina. The title represents the fusion of opposing concepts into a complete whole, the Eastern philosophy of yin and yang, as well as a lifelong communion with nature.Minion My Sister Can Fix Stupid But Its Gonna Hurt Shirt
Teresa Baker’s contemplative mixed-media works blend artificial and natural materials—including acrylic yarn, willow, and buckskin—to create abstract landscapes that explore themes of place, memory, and identity. She often works with AstroTurf as her canvas, its synthetic surface echoing the grasses of her Northern Plains upbringing. This exhibition at the American Academy of Arts and Letters (on view through July 3) features recent paintings and two large, double-sided works suspended from the ceiling—one of which was begun in her Los Angeles backyard and exposed to ash and smoke from the January wildfires. With a title that translates to “This Bedroom Looks Like a Republic!,” this jewelbox presentation featuring sculptures made from wood and appropriated furniture marks interdisciplinary artist Sandra Poulson’s first museum exhibition (on view through October 6). Through things like vernacular garments and domestic furniture, the Angolan-raised Central Saint Martins fashion graduate draws on everyday life and customs in her hometown, Luanda, to investigate the transnational circulation of images and material culture. Poulson’s memorable installation was one of my highlights at last year’s Art Basel (she also created one at the 2024 Venice Biennale), and here she continues to explore how intimate spaces, items, and garments are charged with politics and symbols detached from their original contexts.
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