What does it truly mean to see? For Kennedy Yanko, it's a question that transcends the limitations of the eye, an invitation to experience the world through touch, texture, and the transformative power of materials, challenging the conventional notions of sculpture and perception.
Born in St. Louis, Missouri, in 1988, Kennedy Yanko has emerged as a prominent figure in the contemporary art world, captivating audiences with her innovative approach to sculpture and installation. Yankos practice is a testament to her unwavering commitment to exploring the interplay between form, space, and the very essence of perception. Her journey began at the San Francisco Art Institute in San Francisco, California, where she honed her skills and developed a unique artistic vocabulary that would soon redefine the boundaries of her chosen medium.
Yanko, a sculptor and installation artist, has carved a distinct niche for herself by working with found metal and paint skins. These unconventional materials are not merely components of her artwork but integral elements that contribute to the narrative, inviting viewers to engage with the art on a deeper, more tactile level. The artist's ability to transform discarded objects, sourced primarily from salvage yards, into visually arresting and thought-provoking creations is a core aspect of her practice. She meticulously manipulates, modifies, and reconfigures these materials, imbuing them with new life and purpose. This process is not just about creation; it's about revelationunveiling hidden histories and untold stories embedded within the very fabric of the materials.
Yankos work is currently being showcased at multiple venues. The impact of her work is further amplified by their inclusion in significant exhibitions at prestigious institutions. Her works have been featured in the Albertina Modern (2024), the Museum of Contemporary Art Detroit (2019), and in numerous acclaimed exhibitions such as "Alchemy," curated by Elizabeth Ferrer and Jenny Gerow at BRIC in Brooklyn, and "The Aesthetics of Matter," curated by Mickalene Thomas and Racquel Chevremont at VOLTA, New York. Notably, her participation in "Hidden in Plain Site," curated by Derrick Adams at Jenkins Johnson Gallery, further underscores her rising influence in the art world. Furthermore, her work has graced key galleries and museums like Perrotin in Paris (Turenne), alongside major institutions like Albertina Modern, solidifying her standing in the international art scene.
| Category | Details |
|---|---|
| Full Name | Kennedy Yanko |
| Date of Birth | October 21, 1988 |
| Place of Birth | St. Louis, Missouri, USA |
| Education | San Francisco Art Institute (2008) |
| Primary Medium | Sculpture, Installation |
| Materials | Found Metal, Paint Skins |
| Known For | Transformative use of industrial materials, exploration of vision and perception |
| Selected Exhibitions | Albertina Modern (2024), Museum of Contemporary Art Detroit (2019), BRIC (Brooklyn), VOLTA (New York), Jenkins Johnson Gallery |
| Gallery Representation | James Cohan Gallery, Salon 94 |
| Studio Location | Brooklyn, New York |
| Website Link | James Cohan Gallery - Kennedy Yanko |
Yankos artistic philosophy emphasizes the limitations of optic vision. In a world often dominated by visual experiences, she challenges us to look beyond the surface, to engage with art in a more profound and multisensory way. Her installations invite viewers to contemplate the subtle nuances of texture, the weight of materials, and the play of light and shadow, encouraging a deeper understanding of the world around us. This exploration is vividly realized in her use of "paint skins," layers of dried paint that peel and flake, creating a tactile surface that contrasts with the cold, industrial nature of the metal. This juxtaposition is a central theme in her work, representing the collision of different worlds, experiences, and perspectives.
The artist's studio, a creative hub located in Brooklyn, New York, serves as the birthplace of Yanko's artistic visions. It's a space where she refines her craft, and the transformative process of material manipulation takes place. It's where the raw materials are meticulously shaped, welded, and combined, resulting in powerful, thought-provoking installations. A glimpse inside her studio reveals a world of organized chaos, where scrap metal merges with vibrant paint skins, birthing stunning sculptures. A suspended sculpture titled "Separate Thoughts" from 2018, crafted from metal and acrylic, exemplifies her artistic vision. Its dimensions, 77 x 36 x 6 inches, reveal Yanko's ability to command space and create objects that capture the eye and evoke thought.
Yanko's work often draws inspiration from a range of influences, including the work of artists such as Anselm Kiefer and Lynda Benglis. Her sculptures, characterized by their powerful presence and intricate details, are often inspired by the exploration of memory, history, and the human experience. The artist, in a quest for readymade forms, often scours scrapyards, giving her works a unique depth, and offering a narrative beyond their physical structure. The raw materials, the discarded objects, are imbued with histories, creating a dialogue between the past and the present.
Her exhibitions are not just showcases of her artwork but immersive experiences, creating an environment for viewers to consider their interactions with materials and the spaces around them. Her first solo exhibition in Scandinavia, a milestone in her career, illustrates the global appeal of her artistic vision. With the help of her gallery representations, James Cohan and Salon 94, the artist has been able to expand her reach to a diverse audience. The debut exhibition with James Cohan at the gallery's 48 Walker Street location, titled "Epithets," will feature all-new works by the artist, inviting further exploration of her artistic themes and methodologies.
Beyond her work, Yanko is also a dynamic presence in the fashion world. She participated in Pyer Moss' debut couture show, illustrating the intersections between art and fashion. As she continues to develop her practice, she is set to become one of the most important voices in contemporary art. Her work opens up a dialogue about the environment, history, and human experience. The artist is, as she puts it, "a verb humming on life," always in motion, always creating, always pushing boundaries. Her work, rooted in materials and driven by her keen perception, is a reminder to look beyond what we see. The world of Kennedy Yanko is a realm where art becomes a sensory experience, inviting viewers to reconsider the limitations of sight.
