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Y.Z. Kami

Y.Z. Kami, Ava VI, 2022 Oil on linen, 71 × 39 inches (180.3 × 99.1 cm)© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Ava VI, 2022

Oil on linen, 71 × 39 inches (180.3 × 99.1 cm)
© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Man with Blue Eyes, 2022 Oil on linen, 60 ¾ × 40 ½ inches (154.3 × 102.9 cm)© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Man with Blue Eyes, 2022

Oil on linen, 60 ¾ × 40 ½ inches (154.3 × 102.9 cm)
© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Black Dome, 2017–22 Gesso on linen, 73 × 80 inches (185.4 × 203.2 cm)© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Black Dome, 2017–22

Gesso on linen, 73 × 80 inches (185.4 × 203.2 cm)
© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Night Painting XIII, 2020 Oil on linen, in 4 parts, each: 36 × 22 ½ inches (91.4 × 57.2 cm)© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Night Painting XIII, 2020

Oil on linen, in 4 parts, each: 36 × 22 ½ inches (91.4 × 57.2 cm)
© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Night Painting VI, 2019 Oil on linen, 90 × 108 inches (228.6 × 274.3 cm)© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Night Painting VI, 2019

Oil on linen, 90 × 108 inches (228.6 × 274.3 cm)
© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, White Dome, 2016–17 Block ink and acrylic on linen, 63 × 70 inches (160 × 177.8 cm)© Y.Z. Kami

Y.Z. Kami, White Dome, 2016–17

Block ink and acrylic on linen, 63 × 70 inches (160 × 177.8 cm)
© Y.Z. Kami

Y.Z. Kami, Aparna’s Hand, 2014–15 Oil on linen, 90 × 108 inches (228.6 × 274.3 cm)© Y.Z. Kami

Y.Z. Kami, Aparna’s Hand, 2014–15

Oil on linen, 90 × 108 inches (228.6 × 274.3 cm)
© Y.Z. Kami

Y.Z. Kami, Marwin, 2013–14 Oil on linen, 108 × 72 inches (274.3 × 182.9 cm)© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Marwin, 2013–14

Oil on linen, 108 × 72 inches (274.3 × 182.9 cm)
© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Untitled (Hands) I, 2013 Oil on linen, 108 × 72 inches (274.3 × 182.9 cm)© Y.Z. Kami

Y.Z. Kami, Untitled (Hands) I, 2013

Oil on linen, 108 × 72 inches (274.3 × 182.9 cm)
© Y.Z. Kami

Y.Z. Kami, White Dome I, 2011–13 Acrylic on linen, 124 × 137 inches (315 × 348 cm)© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, White Dome I, 2011–13

Acrylic on linen, 124 × 137 inches (315 × 348 cm)
© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Untitled, 2009–12 Oil on linen, 112 × 75 inches (284.5 × 190.5 cm)© Y.Z. Kami

Y.Z. Kami, Untitled, 2009–12

Oil on linen, 112 × 75 inches (284.5 × 190.5 cm)
© Y.Z. Kami

Y.Z. Kami, Untitled, 2010 Oil on linen, 99 × 68 inches (251.5 × 172.7 cm)© Y.Z. Kami

Y.Z. Kami, Untitled, 2010

Oil on linen, 99 × 68 inches (251.5 × 172.7 cm)
© Y.Z. Kami

Y.Z. Kami, Konya, 2005–07 Inkjet prints on Arches paper with oil paint, 161 × 87 inches (408.9 × 221 cm)© Y.Z. Kami

Y.Z. Kami, Konya, 2005–07

Inkjet prints on Arches paper with oil paint, 161 × 87 inches (408.9 × 221 cm)
© Y.Z. Kami

Y.Z. Kami, Untitled (Woman in a Green Sweater), 2006 Oil on linen, 132 × 74 inches (335.3 × 188 cm)© Y.Z. Kami. Photo: Rob McKeever

Y.Z. Kami, Untitled (Woman in a Green Sweater), 2006

Oil on linen, 132 × 74 inches (335.3 × 188 cm)
© Y.Z. Kami. Photo: Rob McKeever

About

In paintings, drawings, collages, and sculptures, Y.Z. Kami explores the flux between matter and spirit, external appearance and inner life. In large-scale portraits based on his own photographs, he restages face-to-face encounters, using sfumato to depict family, friends, and strangers with eyes open or closed, gazing straight ahead or looking down. Rendered in matte oil paint on linen, these meditative images recall Byzantine frescoes and Fayum funerary portraits, locating the unknown and the infinite in material form and presence. In his abstract works, Kami extends this interplay of surface and interior through forms inspired by architecture, geometry, poetry, and, more recently, hazy, oneiric imagery.

Kami was born in Tehran in 1956. He painted from early childhood, sometimes with his mother (who worked for a time under the well-known Persian academic painter Ali Mohammad Heydarian [1896–1990]), and was exposed to both Western and Near Eastern influences, particularly the paintings of the European masters and the verses of thirteenth- and fourteenth-century Persian poets. Following high school, and after a year spent in Berkeley, California, he moved to Paris. There he studied philosophy at the Sorbonne—from which he graduated in 1981—and subsequently at the Conservatoire Libre du Cinéma Français.

In 1984, Kami moved to New York, where he continues to live and work. There, he started work on Self-Portrait as a Child (1990), which marks the beginning of a series of paintings, drawings, and photographic works based on a picture of himself as a boy in Iran. Over the subsequent decade he produced multipart works, including Untitled (18 Portraits) (1994–95). A 2006 exhibition, Without Boundary at the Museum of Modern Art, New York, saw Kami starting to paint his subjects with their eyes closed or lowered, making the entire surface of the face a focal point. Other works, such as Dry Land (1999–2004), juxtapose painted portraits with photographic images of façades and buildings, the structures’ weathered surfaces underscoring a sense of lived history.

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Y.Z. Kami, Night Painting I (for William Blake), 2017–18, oil on linen, 99 × 99 inches (251.5 × 251.5 cm) © Y.Z. Kami. Photo: Rob McKeever

In Conversation
Setsuko and Y.Z. Kami

The artists address their shared ardor for poetry, the surfaces of painting, and nature.

Y.Z. Kami and Steven Henry Madoff sit in front two of the artist's paintings

In Conversation
Y.Z. Kami and Steven Henry Madoff

Y.Z. Kami and curator Steven Henry Madoff sit down in Kami’s studio to discuss the artist’s exhibition at the Museo de Arte Contemporáneo de Castilla y León, Spain. Entitled Y.Z. Kami: De forma silenciosa/In a Silent Way, the survey features portraits; images of buildings, both sacred and ordinary; a sculptural installation of loose bricks inscribed with texts; and recent dreamlike abstractions.

A painting in dark blue and white. The image depicts a group of men in white linen encircling a platform on which a couple of them are standing. The standing figures are cut off from the waist up as the top half of the painting dissolves into solid midnight blue.

Y.Z. Kami: Dematerialized

In celebration of the release of the monograph Y.Z. Kami: Works 1985–2018, and in advance of an exhibition of new works by the artist at Gagosian, Rome, Ziba Ardalan and Elena Geuna sat down to discuss Y.Z. Kami’s work. The conversation was moderated by Gagosian’s Kay Pallister.

Rachel Whiteread, Untitled (Notre-Dame), 2019.

For Notre-Dame

An exhibition at Gagosian, Paris, is raising funds to aid in the reconstruction of the Cathédrale Notre-Dame de Paris following the devastating fire of April 2019. Gagosian directors Serena Cattaneo Adorno and Jean-Olivier Després spoke to Jennifer Knox White about the generous response of artists and others, and what the restoration of this iconic structure means across the world.

Y.Z. Kami, Gold Dome, 2017, gold leaf on linen, 63 × 70 inches (160 × 177.8 cm). Mr. and Mrs. David Su Collection.

Y.Z. Kami: Luminosities

Elena Geuna interviews the artist on the subjects of his childhood, his approach to portraiture, and the centrality of light in his practice.

Gagosian Quarterly Summer 2019

Now available
Gagosian Quarterly Summer 2019

The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.

Y.Z. Kami: Behind the Vanishing Point

Y.Z. Kami: Behind the Vanishing Point

Blaise Pascal, the seventeenth-century mathematician and philosopher, served as a crucial inspiration for Y.Z. Kami’s newest body of work. Angela Brown examines Pascal’s ideas and their relevance to these portraits and Dome paintings.

Fire and Water

Fire and Water

Y.Z. Kami and Peter Marino discuss the power of bronze, the current state of architecture, and the infinite.

Y.Z. Kami

In Conversation
Y.Z. Kami

During preparations for an exhibition in London, Y.Z. Kami met with Gagosian’s Alison McDonald to discuss the evolution of his work, technique, and his combination of influences.

Fairs, Events & Announcements

Gagosian’s booth at ART SG 2024. Artwork, left to right: © ADAGP, Paris, 2024, © Jonas Wood, © Rick Lowe Studio. Photo: Ringo Cheung

Art Fair

ART SG 2024

January 19–21, 2024, booth BC06
Marina Bay Sands Expo and Convention Centre, Singapore
artsg.com

Gagosian is pleased to participate in the second edition of ART SG, with a selection of works by international contemporary artists including Harold Ancart, Georg Baselitz, Ashley Bickerton, Amoako Boafo, Dan Colen, Edmund de Waal, Nan Goldin, Lauren Halsey, Hao Liang, Keith Haring, Damien Hirst, Tetsuya Ishida, Alex Israel, Donald Judd, Y.Z. Kami, Emily Kame Kngwarreye, Rick Lowe, Takashi Murakami, Takashi Murakami & Virgil Abloh, Nam June Paik, Ed Ruscha, Jim Shaw, Alexandria Smith, Spencer Sweeney, Stanley Whitney, Jonas Wood, and Zeng Fanzhi. The works on view, which embrace a wide variety of subjects and approaches, find artists infusing traditional genres such as history painting, portraiture, and landscape with new and surprising ideas that traverse cultural and temporal boundaries. 

Gagosian’s booth at ART SG 2024. Artwork, left to right: © ADAGP, Paris, 2024, © Jonas Wood, © Rick Lowe Studio. Photo: Ringo Cheung

Jadé Fadojutimi, As usual, the season’s showers tend to linger, 2023 © Jadé Fadojutimi

Art Fair

Art Basel Hong Kong 2023

March 22–25, 2023
Hong Kong Convention and Exhibition Centre
www.artbasel.com

Gagosian is pleased to participate in Art Basel Hong Kong 2023 with a presentation of modern and contemporary works by international artists.

Jadé Fadojutimi, As usual, the season’s showers tend to linger, 2023 © Jadé Fadojutimi

Photo: Sueraya Shaheen

Honor

Y.Z. Kami
2022 Asia Arts Game Changer Awards

Y.Z. Kami has been selected to receive a 2022 Asia Arts Game Changer Award. The award, presented by Asia Society at a gala on May 19, 2022, honors important figures across the arts who have made a significant impact on society and brings together artists, arts professionals, collectors, and Asia Society trustees and patrons to celebrate excellence in the arts from across Asia and the diaspora. Asia Society is the leading educational organization dedicated to promoting mutual understanding and strengthening partnerships among peoples, leaders, and institutions of Asia and the United States in a global context.

Photo: Sueraya Shaheen

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Museum Exhibitions

Installation view, Y.Z. Kami: Light, Gaze, Presence, Museo di Palazzo Vecchio Museum, Florence, Italy, February 17–September 24, 2023. Artwork © Y.Z. Kami. Photo: Serge Domingie

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Y.Z. Kami
Light, Gaze, Presence

February 17–September 24, 2023
Various venues in Florence, Italy
www.museonovecento.it

Light, Gaze, Presence presents a selection of works by Y.Z. Kami across four locations in Florence: Museo Novecento, Museo di Palazzo Vecchio, Museo degli Innocenti, and Abbazia di San Miniato al Monte. The multipart exhibition explores the pictorial universe of Kami’s paintings while placing them in dialogue with masterworks of the Italian Renaissance.

Installation view, Y.Z. Kami: Light, Gaze, Presence, Museo di Palazzo Vecchio Museum, Florence, Italy, February 17–September 24, 2023. Artwork © Y.Z. Kami. Photo: Serge Domingie

Installation view, Y.Z. Kami: De forma silenciosa/In a Silent Way, Museo de Arte Contemporáneo de Castilla y León, Spain, June 4, 2022–January 22, 2023. Artwork © Y.Z. Kami. Photo: Santiago Santos

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Y.Z. Kami
De forma silenciosa/In a Silent Way

June 4, 2022–January 22, 2023
Museo de Arte Contemporáneo de Castilla y León, Spain
musac.es

De forma silenciosa/In a Silent Way is a mid-career survey of more than thirty years of work by Y.Z. Kami. The exhibition features portraits by the artist; images of buildings, both sacred and ordinary; a sculptural installation of loose bricks inscribed with texts; and recent dreamlike abstractions. Steeped in the traditions of the antique art of Egyptian Fayum portraits and ancient Persian poetry, while influenced by the writings of French moral philosopher Emmanuel Levinas, Kami’s works look at bodies in ethereal calm, with a meditative and philosophical assessment of outward and inner being.

Installation view, Y.Z. Kami: De forma silenciosa/In a Silent Way, Museo de Arte Contemporáneo de Castilla y León, Spain, June 4, 2022–January 22, 2023. Artwork © Y.Z. Kami. Photo: Santiago Santos

Installation view, Burning at the Edges, Longlati Foundation, Shanghai, November 9, 2022–January 15, 2023. Artwork © Y.Z. Kami

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Y.Z. Kami in
Burning at the Edges

November 9, 2022–January 15, 2023
Longlati Foundation, Shanghai
www.longlatifoundation.org

Featuring a number of large-scale works recently acquired by Longlati Foundation, Burning at the Edges explores minority and multi-minority cultures. The exhibition examines how three artists—Y.Z. Kami, Ibrahim Mahama, and Adam Pendleton—transform sacred architecture, globalized commodities, propaganda, and graffiti texts, as well as the meaning of fluid identities and the inherent conflicts within.

Installation view, Burning at the Edges, Longlati Foundation, Shanghai, November 9, 2022–January 15, 2023. Artwork © Y.Z. Kami

Y.Z. Kami, Black Dome, 2015 © Y.Z. Kami

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Y.Z. Kami in
Rebel, Jester, Mystic, Poet: Contemporary Persians

September 10, 2021–May 8, 2022
Asia Society, New York
asiasociety.org

Drawn from the Mohammed Afkhami Collection, Rebel, Jester, Mystic, Poet: Contemporary Persians presents works by more than twenty artists from Iran and its diaspora. Revising traditional aesthetics and probing subjects such as gender identity, war, peace, religion, and spirituality, the works, which date from 1998 to the present, are realized in a variety of mediums, from painting and sculpture to photography and video installation. Through open critique or subterfuge, humor, spirituality, and poetry, the artists overcome the restrictions and pressures that have affected Iranians in the past quarter century. This exhibition originated at the Aga Khan Museum in Toronto. Work by Y.Z. Kami is included.

Y.Z. Kami, Black Dome, 2015 © Y.Z. Kami

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Press

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