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Work Samples

The Daily Pad - Fuse Art Space Instagram takeover

“The internet poses significant problems in female representation, from pornography to the use of female form in advertising and notably the use of sexually violent language as a form of censorship and aggression towards female expression. Exquisite Corpse presents an array of female artists using both online and material forms for creativity, empowerment, and subversion, whilst reclaiming control of the representation of their bodies.” Sarah Faraday, Curator, Exquisite Corpse, Fuse Art Space, Bradford, UK and Cologne, Germany

The Real Wi-Fi Of Baltimore (Are U Connected?)

Featuring the genre-busting talent of James Nasty and TT the Artist, The Real Wi-Fi Of Baltimore offers a punny and nuanced view of Baltimore neighborhoods in a short film edited from iPhone screenshots of Wi-Fi network names. The Real Wi-Fi Of Baltimore poses this challenge: Are we connected?

Receipts

Receipts calls out and takes ownership of Asian and Asian-American slurs in a series of faux Asian-style scrolls featuring documented racist slurs received on sales receipts from Chick-fil-A, Hooters, and Papa John’s.

Why

Julia Kim Smith utilizes Google’s search engine's autocomplete feature to find out what people are wondering about her, an Asian woman, and discovers unsettling abstractions, truths, fallacies, desires, and fears about all of us. Why is a compilation of 24 of the search engine results.

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About Julia

Baltimore City

Julia Kim Smith is a multidisciplinary artist whose work has been featured by Angry Asian Man, Animal, Art F City, artnet News, GQ, Hypebeast, Hyperallergic, Juxtapoz, kottke.org, Paper Magazine, The Atlantic, The Washington Post, and international media outlets. Her films have received premieres at Slamdance Film Festival, Cinequest Film Festival, Center For Asian American Media CAAMFest, San Francisco Documentary Film Festival, Brooklyn Film Festival, and Maryland Film Festival. Her multidisciplinary... more

Anonymous Rage

With the gap widening between rich and poor, Julia Kim Smith collected nearly 30 signs by the homeless and created a shelter-like installation as a statement of anonymous rage. Anonymous Rage may be viewed in different ways. The signs are real expressions of individual need and desperation. The signs are symbols of a society that cannot take care of its own. The signs are art, as valid as any other form, expressing an anonymous rage that cuts to the core and provokes raw emotions that range from compassion, fear, suspicion, and anger. Through their signs, the homeless rebel against anonymity and invoke our vulnerability and mortality as individuals and as a society.

INSTALLATION
Maryland Art Place, Baltimore, MD, 2006
20th Annual Critics Residency Program, Mapping The Alternative, Curator: Lilly Wei, Independent Curator and Critic, Art in America, ARTnews, Art Asia Pacific

  • Anonymous Rage

    Signs by the homeless, frames, plexiglass, Site: Maryland Art Place, Baltimore, MD, 2006, 20th Annual Critics Residency Program, Mapping the Alternative, Curator: Lilly Wei, Independent Curator and Critic, Art in America, ARTnews, Art Asia Pacific
  • Anonymous Rage

    Signs by the homeless, frames, plexiglass, Site: Maryland Art Place, Baltimore, MD, 2006, 20th Annual Critics Residency Program, Mapping the Alternative, Curator: Lilly Wei, Independent Curator and Critic, Art in America, ARTnews, Art Asia Pacific

Cylburn Park

Community–it’s no walk in the park.

Cylburn Park is a text movie in two acts inspired by and edited from a Baltimore neighborhood’s Google Group daily feed and the media’s coverage of it (below). The texts scroll by at a quick pace as if on a teleprompter screen and include lively exchanges over ducks and racial profiling, offering different perspectives from “bitchy” indeed to high-minded and deeply moving. Cylburn Park is relevant today in Baltimore and beyond as communities struggle to keep it together.

BEST SOMETIMES-RACIST GOOGLE GROUP
“For cringe-worthy entertainment, nothing beats reading the daily feed from the Mount Washington Google Group, the provenance for overly educated people with too much time on their hands and axes to grind. Aside from the mundane stuff–free kids’ toys and recommendations for dentists–the group’s archive of bitchy exchanges over whether to allow ducks to live in the community garden nearly brought some residents to blows. The Group’s Greek chorus really pulls out all the stops when teens from the Pimlico neighborhood are spotted in Mount Washington. Accusations of racial profiling are never funny, but you’ve gotta roll your eyes when Mount Washingtonians call each other ‘moron’ and ‘ass’ as they try to sidestep their own prejudices.”
City Paper’s “Best of Baltimore 2013”

SCREENINGS
2015 Official Selection Brooklyn Film Festival, Brooklyn, NY

The Daily Pad

“The internet poses significant problems in female representation, from pornography to the use of female form in advertising and notably the use of sexually violent language as a form of censorship and aggression towards female expression. Exquisite Corpse presents an array of female artists using both online and material forms for creativity, empowerment, and subversion, whilst reclaiming control of the representation of their bodies.”
Sarah Faraday, Curator, Exquisite Corpse, Fuse Art Space, Bradford, UK and Cologne, Germany

ARTIST STATEMENT
In 2015-16, I participated in Exquisite Corpse, an exhibition at Fuse Art Space in Bradford, UK and Cologne, Germany, featuring the work of hot (professionally hot, that is) fourth-wave feminist artists Rupi Kaur, Kate Durbin, Faith Holland, Poppy Jackson, Sue Williams, among others. The exhibition challenged the misrepresentation of the female form and identity on the internet. I screened Why, a film in which I utilized Google’s search engine’s autocomplete feature to find out what the masses wondered about me, an Asian woman, and discovered unsettling truths, fallacies, desires, and fears about many of us.

In conjunction with Exquisite Corpse, I took over Fuse Art Space’s Instagram account, posting from my series The Daily Pad–images created from Kotex products and blood–for six days, the duration of a period. The Daily Pad is a humorous, Dadaist challenge to those who view female sexuality, including menstruation, as a taboo to shame, censor, and silence. Sometimes the only rational response in the face of irrationality is to stop making sense.
— Julia Kim Smith

EXHIBITION HISTORY
Charles Krause/Reporting Fine Art Gallery at Busboys And Poets, Washington, DC, 2016
Artists United!, Curators: Alan Fern, former director, The National Portrait Gallery, Washington, DC; Mel Hardy, Millennium Arts Salon, Washington, DC; Michael Hodgson, MD, collector, Washington, DC; Charles Krause, Charles Krause/Reporting Fine Art Gallery, Washington, DC; Susan Orlins, author and editor, Street Sense, Washington, DC; Alexssa Todd, Christie’s, New York

A.I.R. Gallery, Brooklyn, NY, 2016
In The Secret Garden, Curator: Rocio Aranda-Alvarado, Curator, El Museo del Barrio, New York, NY

Gold + Beton, Cologne, Germany, 2016
Fuse Art Space, Bradford, UK, 2015
Exquisite Corpse, Curator: Sarah Faraday
Exhibiting Artists: Anastasia Vepreva​, Evelin Stermitz, Faith Holland, Julia Kim Smith, Kate Durbin, ​Lacie Garnes, Poppy Jackson, Rupi Kaur, Sarah Faraday​, Sheena Patel, Sue Williams
Fuse Art Space Instagram takeover: Julia Kim Smith - week of September 21, 2015

PRESS
Paper Magazine, Layne Weiss, “Exquisite Corpse: Inside Germany’s Powerful Feminist Exhibit,” February 2016
Dazed Digital, UK, Sooanne Berner, “After Cologne Sexual Attacks, Art Show Champions Women,” January 2016
artnet News, Sarah Hyde, “Cologne Art Show Celebrates Women In The Wake Of Attacks,” January 2016
this is tomorrow, UK, Alice Miller, “Exquisite Corpse,” September 2015
Corridor8, UK, Elspeth Mitchell, “Review: Exquisite Corpse, Fuse Art Space,” August 2015

The Real Wi-Fi Of Baltimore (Are U Connected?)

Featuring the genre-busting talent of James Nasty and TT the Artist, The Real Wi-Fi Of Baltimore offers a punny and nuanced view of Baltimore neighborhoods in a short film edited from iPhone screenshots of Wi-Fi network names. The Real Wi-Fi Of Baltimore poses this challenge: Are we connected?

This project is supported in part by a Rubys Artist Project Grant. The Rubys Artist Project Grants were conceived and initiated with start-up funding from the Robert W. Deutsch Foundation and are a program of the Greater Baltimore Cultural Alliance.

PRODUCTION NOTE
“Baltimore is the world. The world is Baltimore.”
Your Face In Mine, Jess Row

In the wake of the Freddie Gray uprising, I was traveling around Baltimore, lost and looking for a Wi-Fi connection, and was fascinated by the Wi-Fi network names that came up on my phone. I started taking screenshots which I edited into a short film. Thanks to a Rubys Artist Grant, I was able to remaster the film for projection on the big screen and combine forces with James Nasty and TT the Artist to produce an original soundtrack for the film, “Are U Connected?”–both a question and a challenge.
— Julia Kim Smith, Director

SCREENINGS
2017 Official Selection Slamdance Film Festival, Park City, UT
2017 Official Selection Cinequest Film Festival, San Jose, CA
2017 Official Selection Calgary Underground Film Festival, Calgary, Canada
Sondheim Prize Semi-Finalist Exhibition, Maryland Institute College Of Art, Baltimore, MD, 2017
Vimeo Curated Collection: Comedy

PRESS
We Are Moving Stories, Carmela Baranowska, “Slamdance - The Real Wi-Fi Of Baltimore,” January 2017
Deadline Hollywood, Diana Lodderhose, Dominic Patten, “Slamdance 2017 Unveils Special Screenings, Beyond & Shorts Program,” December 2016
Rubys Media And Performing Arts Grantees 2016, Greater Baltimore Cultural Alliance
kottke.org, Jason Kottke, “The Real Wi-Fi Of Baltimore,” November 2015 (The Real Wi-Fi Of Baltimore rough cut)
Good Morning Silicon Valley, Levi Sumagaysay, “Off Topic,” November 2015 (The Real Wi-Fi Of Baltimore rough cut)
Holy Kaw, Guy Kawasaki, “Mapping Baltimore By Wifi Names,” November 2015 (The Real Wi-Fi Of Baltimore rough cut)
Baltimore Fishbowl, Rachel Monroe, “Lifeline: Wu Tang LAN And Other Great Wifi Network Names In Baltimore,” November 2015 (The Real Wi-Fi Of Baltimore rough cut)

Receipts

Receipts calls out and takes ownership of Asian and Asian-American slurs in a series of faux Asian-style scrolls featuring documented racist slurs received on sales receipts from Chick-fil-A, Hooters, and Papa John’s.

EXHIBITION HISTORY
Korean Cultural Center, Beijing, China, 2017
Time Zone Converter, Curators: Xi Zhang and Joo Yeon Woo
Sponsored by the Korean government’s Ministry of Culture, Sports, and Tourism and the Embassy of the Republic of Korea

A.I.R. Gallery, Brooklyn, NY, 2017
Gathering Differences, A.I.R. National Exhibition, Curator: Helga Christoffersen, Assistant Curator, New Museum, New York, NY

  • Receipts

    Archival pigment print on rice paper, linen, wood dowel rods, wire, Site: A.I.R. Gallery, Brooklyn, NY, 2017, Gathering Differences, A.I.R. National Exhibition, Curator: Helga Christoffersen, Assistant Curator, New Museum, New York, NY (image courtesy A.I.R. Gallery)
  • Receipts: Ching Chong Chick-fil-A

    Archival pigment print on rice paper, linen, wood dowel rods, wire, 36 x 24"
  • Receipts: Chinx Hooters

    Archival pigment print on rice paper, linen, wood dowel rods, wire, 36 x 24"
  • Receipts: Lady Chinky Eyes Papa John’s

    Archival pigment print on rice paper, linen, wood dowel rods, wire, 36 x 24"

Selfie Mirror

ARTIST STATEMENT
Selfie Mirror is a participatory installation piece: A hand mirror is mounted on a microphone stand with the words “In Trump’s America, I am worth nothing.” etched on the front of the mirror and “I am secretly going to burn this thing down from the inside.” etched on the back. A piece of rope is tied to the mirror in a hangman’s noose and an enamel American flag pin is mounted to the mirror.

The work borrows from “Ways I Am Preparing For A Trump Presidency,” an essay by Blythe Roberson. In Trump’s America, I am alarmed by the rise and normalization of hate crimes and violence. I am alarmed our democracy is teetering into fascism. I am concerned for our future. Diversity is America’s strength, and our diversity is threatened.

My hope is that when viewers get close to Selfie Mirror and look for themselves, they’ll see an image of themselves, and of others, in a different light.
— Julia Kim Smith

EXHIBITION HISTORY
A.I.R. Gallery, Brooklyn, NY, 2018
Currents, Curator: Barbara Zucker

SpaceCamp, Baltimore, MD, 2017
LabBodies Performance Art Review: Freedom, Curators: Dr. H. Corona and Dr. A. Pinkston

PRESS
BmoreArt, Angela Carroll, “Envisioning And Embodying Freedom,” November 2017
Baltimore Beat, Maura Callahan, “LabBodies’ Third Annual Performance Art Review Channels Pain Into Resistance,” November 2017

What To Wear To A Protest

Inspired by Kellyanne Conway’s shopping tip “Go buy Ivanka’s stuff!”, the What To Wear To A Protest collection repurposes pieces from the Ivanka Trump line with hand-cut stencils, spray paint, and Sharpie.
The What To Wear To A Protest collection is proudly spray painted in the USA.


EXHIBITION HISTORY
SpaceCamp, Baltimore, MD, 2017
LabBodies Performance Art Review: Freedom, Curators: Dr. H. Corona and Dr. A. Pinkston

PRESS
BmoreArt, Angela Carroll, “Envisioning And Embodying Freedom,” November 2017
Baltimore Beat, Maura Callahan, “LabBodies’ Third Annual Performance Art Review Channels Pain Into Resistance,” November 2017

  • What To Wear To A Protest Satchel

    Satchel, spray paint, Sharpie, 11 x 17 x 5”, Description: The What To Wear To A Protest Satchel is the Ivanka Trump Tribeca Solutions Satchel with “DEFY HATE” spray painted in white on the outside, “RESIST” on the outside pocket, “DEFY” on both sides. Shoulder strap, removable zip pouch, and dust bag (not pictured) included.
  • What To Wear To A Protest Sweater

    Sweater, spray paint, Sharpie, Size: XL, Description: The What To Wear To A Protest Sweater is the Ivanka Trump Sleeveless Sweater with “RESIST” spray painted in red on the front.
  • What To Wear To A Protest Dress

    Dress, spray paint, Sharpie, Size: 2, Description: The What To Wear To A Protest Dress is the Ivanka Trump Scuba Pop-Over Dress with “DEFY HATE” spray painted in silver on the bodice.

Why

Julia Kim Smith utilizes Google’s search engine's autocomplete feature to find out what people are wondering about her, an Asian woman, and discovers unsettling abstractions, truths, fallacies, desires, and fears about all of us. Why is a compilation of 24 of the search engine results.

SELECTED SCREENINGS
2017 Feminist Art Conference, OCAD University, Toronto, Canada
2016 Gold + Beton, Exquisit Corpse, Cologne, Germany
2015 Fuse Art Space, Exquisite Corpse, Bradford, UK
Curator: Sarah Faraday
Exhibiting Artists: Anastasia Vepreva, Evelin Stermitz, Faith Holland, Julia Kim Smith, Kate Durbin, Lacie Garnes, Poppy Jackson, Rupi Kaur, Sarah Faraday, Sheena Patel, Sue Williams

2014-2015 Institute for Women and Art, Rutgers University, MTV: Momentum Technology Video and Momentum: Women/Art/Technology, New Brunswick, NJ

2014 Official Selection Center For Asian American Media CAAMFest, San Francisco, Berkeley, Oakland, CA
2013 DUMBO Arts Festival, Brooklyn, NY

2013 Washington Project for the Arts, Pepco Edison Place Gallery, Experimental Media 2013: Cyber In Securities, Washington, DC
Curator: Lisa Moren, Professor of Visual Art, University of Maryland, Baltimore County
Exhibiting Artists: Birgit Bachler, Walter Langelaar, Owen Mundy, and Tim Schwartz; Channel TWo (CH2): Adam Trowbridge and Jessica Westbrook, with Jesus Duran; Heather Dewey-Hagborg; Hasan Elahi; The Force of Freedom with Dave Young; Taylor Hokanson; Ricarda McDonald and Donna Szoke; Lexie Mountain; Preemptive Media: Beatriz de Costa, Jamie Schulte and Brooke Singer; David Rokeby; Julia Kim Smith; WhiteFeather

2013 Baltimore Artscape, Slippage, Center for the Arts Gallery, Towson University, Towson, MD
Curator: Daniel Belasco, Curator, Samuel Dorsky Museum of Art, State University of New York

PRESS
Media-N: Journal of the New Media Caucus, Lisa Moren, “Algorithmic Pollution: Artists Working With Dataveillance And Societies Of Control,” October 2017
Feminist Art Conference, Valérie Frappier, “Meet The Artists FAC 2017: Julia Kim Smith,” December 2016
Paper Magazine, Layne Weiss, “Exquisite Corpse: Inside Germany’s Powerful Feminist Exhibit,” February 2016
Dazed Digital, UK, Sooanne Berner, “After Cologne Sexual Attacks, Art Show Champions Women,” January 2016
artnet News, Sarah Hyde, “Cologne Art Show Celebrates Women In The Wake Of Attacks,” January 2016
this is tomorrow, UK, Alice Miller, “Exquisite Corpse,” September 2015
Corridor8, UK, Elspeth Mitchell, “Review: Exquisite Corpse, Fuse Art Space,” August 2015
The Washington Post, Mark Jenkins, “Fall Critics’ Picks: Gallery Exhibits,” September 2013
Washington Project for the Arts, Lisa Moren, “Experimental Media 2013: Cyber In Securities,” September 2013
Angry Asian Man, Phil Yu, “Julia Kim Smith Asks Google Why,” March 2013

  • Why

    Film, running time: 00:02:44
  • Why

    Still from film
  • Washington Project for the Arts Experimental Media 2013: Cyber In Securities

    “This knowledge engine was at play when the artist Julia Kim Smith took to Google in 2013 [2012] in order to produce the 1 min. video loop titled Why?. Before Kim Smith finished typing her question “why do asian women...?” the knowledge engine kicked-in, anticipating her possible thoughts: “like black men”, “age well”, “wear masks” and so on. These results are all the more disturbing because there is no human intervention in the algorithm at Google that generates these results, as there is when they censor pornographic and violent words. According to algorithms, a common denominator of people (a type of shared consciousness) are privately asking Google these questions about Asian women more than they are asking anything else. Google reads the action of both individuals and collective social and geographic groups in order to anticipate user’s intentions when they type. When such algorithms are applied to a group of people, especially a minority, the presumed objectivity inherent in the search sanctifies the anticipated result as simply true. We’re left with the question: does the action of the masses constitute truth?” Lisa Moren, Curator, Washington Project for the Arts, Experimental Media 2013: Cyber In Securities
    PDF icon Washington Project for the Arts Experimental Media 2013: Cyber In Securities

With Banksy

Street artist Banksy pulls off no small feat by being both the anonymous artist and the famous artist at the same time. But by being anonymous, he is like Virginia Woolf’s anonymous woman—“Anonymous was a woman.”—and anyone can appropriate his identity. Which is exactly what Julia Kim Smith does in her photo project With Banksy. She heeds Banksy’s edict (and Picasso’s: “The Bad Artists Imitate, The Great Artists Steal”), appropriates his hooded identity, and places him and his work in her own scenarios. In a series of photographs that challenge gender and celebrity roles, “Banksy” lounges front and center while Smith performs daily chores. But Smith is more than just the accommodating hostess, with “Banksy” she creates new social memes and street art for the internet.

EXHIBITION HISTORY
Kochi-Muziris Biennale, Kochi, India 2016-2017
Cooperative Consciousness: A.I.R. Artists At Kochi, Curators: Kathryn Myers, Jayanthi Moorthy

A.I.R. Gallery, Brooklyn, NY, 2014
Liminal Communities, A.I.R. National & International Exhibition, Curator: Lucy Li, Independent Curator and Critic, New York, NY

Platoon Kunsthalle, Seoul, South Korea, 2011
At Platoon With Banksy

PRESS
Korean American Story, Grace Jahng Lee, “Portrait Of Artist Julia Kim Smith,” May 2014
Urbanite, Cara Ober, “Great Artists Steal,” November 2011
Oasis Magazine, Saudi Arabia, “At Home With Banksy,” Autumn 2011
Baltimore Magazine, John Lewis, “Life Changing Art: With Banksy in Korea,” September 2011
Shortlist, UK, “Banksy In The House,” July 2011
Juxtapoz, “Julia Kim Smith: At Home With Banksy Series,” July 2011
GQ, The GQ Eye, “Banksy, Beefrolls And LSD,” July 2011
Animal, Marina Galperina, “Banksy Is Her Homebody,” July 2011
Hypebeast, Douglas Brundage, “At Home With Banksy By Julia Kim Smith,” July 2011
Kidrobot KRonikle, “A Day In The Life Of Banksy,” July 2011
Baltimore Fishbowl, Betsy Boyd, “Provocative New Resident Artist Julia Kim Smith,” June 2011
Angry Asian Man, Phil Yu, “Julia Kim Smith Is Hanging With Banksy,” June 2011
Happy Famous Artists, “Julia Kim Smith With Banksy,” June 2011

Baltimore, Actually, I like it.

Think locally, act locally.

T-shirt and bumper sticker made in Baltimore: created and designed by Julia Kim Smith, printed by Stem Graphics Printshop, and available at Atomic Books. Every T-shirt and bumper sticker makes an impact: The artist donates 100% of profits to The Creative Alliance.

PRESS
“A trending unofficial civic slogan declares ‘Baltimore: Actually, I Like It,’ which best captures the mix of resignation and defensiveness that comes from residing in a place long synonymous with what’s wrong with American cities. This may never be a Portlandia-style urban playground, but the raggedy pleasures of Baltimore living are real and durable, and can be found no where else. That’s why we’re here, and why we stay, even though sometimes we all feel like tearing the place down.”
Grist, David Dudley, “Why Baltimore is fighting for its life, again,” April 2015

Julia's Curated Collection

This artist has not yet created a curated collection.