Born in 1972 in Incheon, South Korea
Lives and works in Seoul, South Korea


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1995 BFA, Minneapolis College of Art and Design, Minnesota, USA
1997 MFA, Pennsylvania Academy of the Fine Arts, Philadelphia, USA

solo shows

PYROKINESIS, Makasiini Contemporary, Turku, Finland
Once in a Lifetime, Ulsan Art Museum, Ulsan, South Korea
Island to Island to Island to Island, ID Space, Hawaii, USA
Two-Fold, Jin Meyerson + Anders Krisar, Gallery2, Seoul; Johyun Gallery, Busan, South Korea

Two-Fold, Jin Meyerson + Anders Krisar, CFHill, Stockholm, Sweden

RETURN, Johyun Gallery, Busan, South Korea
RETURN, Gallery 2, Seoul, South Korea
Sequence 3.0, Space XX, Seoul, South Korea
RETURN, Gallery 2, Jeju, South Korea

Before the Beginning and After the End, Pearl Lam Galleries, Hong Kong

A Nexus of Art and Architecture, Zaha Hadid 520W Building, New York, USA
Jin Meyerson Recent work, George Haddad Art, New York, USA

No Direction Home, Hakgojae Gallery, Seoul, South Korea

Nowadays, Nichido Contemporary Art Gallery, Tokyo, Japan

Endless Frontier, Hakgojae Gallery, Shanghai, China

The Accumulation of Perception, SCAD Moot Gallery, Hong Kong
Rebirth of Opticality, ICAM Museum, Yongin, South Korea
Endless Frontier, Hakgojae Gallery, Seoul, South Korea
No Rest for the Wicked, Galerie Perrotin, Hong Kong

Rare Earth, Yuz Foundation, Jakarta, Indonesia

Carpal Fatigue, Galerie Perrotin, Paris, France

Forecast, Arario Gallery, Seoul; Cheonan, South Korea

There is No Way Out. But Always a Way Through, Galerie Nordine Zidoun, Luxembourg

Progress is No Longer a Guarantee, Michael Janssen Gallery, Berlin, Germany

Accidental Tourist, Galerie Perrotin, Paris, France
High Cholesterol Moment, Zach Feuer Gallery (LFL), New York, USA

More than You Want, Less than You Need, LFL Gallery, New York, USA
Social Distortion, Galerie Perrotin, Paris, France

group shows

BUMP, Matt Carey Williams Art, London, UK

Dui Jip Ki, Esther Schipper Gallery, Berlin, Germany; Seoul, South Kora
About Art, Logomo Art Center, Makasiini Contemporary, Turku, Finland
Origin, Emergence and Return, Rockefeller Center, New York, USA

Venice Biennale, to where the flowers are blooming, Gwangju Biennale 40th anniversary special pavilion, Spazio Berlendis, Venezia

Not Easy, 313 Projects, Seoul, South Korea

Media Fields, MOA at Seoul National University, Seoul, South Korea
Taguchi Collection, Traveling Museum Show, 4 locations, Japan
Good Night: Club Culture, Hyundai Card Foundation, Seoul, South Korea
Group Show, Jason Haam Gallery, Seoul, South Korea

Dystopian Forms, Pearl Lam Galleries, Hong Kong

Natural Selection, Christie’s Contemporary Autumn Sale, HKCC, Hong Kong
A Machine for Living In, curated by Robin Peckham, MAB Thomas Shao Gallery, Hong Kong

Christie’s 150th Anniversary, Contemporary Asian Art, curated by Eric Chang, HKCC, Hong Kong

Full of Peril and Weirdness: Painting as a Universalism, curated by Robin Peckham, M Woods, Beijing, China

Hue & Cry, Sotheby's S2 gallery, curated by Vladimir Restoin Roitfeld, New York, USA
Energy, Daejeon Museum of Art, Daejeon, South Korea
Making Waves, Saatchi Gallery, London, UK

Global New Art, Sompo Museum, Tokyo, Japan
Collector’s Stage, Asian Contemporary Art from Private Collection, Singapore Art Museum, Singapore
So Contemporary Art Exhibition, Lasalle College of the Arts, Singapore

Hope, Pinault Foundation, Dinard, France
Living in Evolution, Busan Biennale, curated by Takashi Azumaya, Busan Museum of Art, Busan, South Korea
NYC collects, Neuberger Museum, New York, USA

BEASTIN, Galerie Nordine Zidoun, Luxembourg

Getting Out Our Dreams, Otero Plassart, Los Angeles, USA
Jekyll Island, Honor Fraser Gallery, curated by Max Henry, Los Angeles, USA
The New Authentics: Artists of the Post-Jewish Generation, Spertus Institute of Jewish Studies, Chicago, USA

Disorder in the House, Vanhaerents Art Collection, Brussels, Belgium
Salon Nouveau, Engholm Engelhorn Galerie, curated by Jasper Sharp, Vienna, Austria
More is More - Maximalist Painting, Museum of Fine Arts, Florida State University, Tallahassee, USA

The Triumph of Painting, Saatchi Gallery, London, UK
Blood Meridian, Michael Janssen Gallery, curated by David Hunt, Berlin, Germany
Bibbidi-Bobbidi-Boo!, Kunstverein Bielefeld, Bielefeld, Germany
Mannheim Exhibition, Mannheim, Germany; Cercle Munster, Luxembourg
Allegories of Displacement, Westport Arts Center, Westport, USA

Surface Tension, Chelsea Art Museum, curated by Manon Slome, New York, USA

public collections

Solomon R. Guggenheim Museum, New York
MMCA Museum of Modern and Contemporary Art, Seoul
SeMA Seoul Museum of Art, Seoul
The Yuz Foundation, Jakarta & Shanghai
Saatchi Gallery, London
MACAN Musuem, Jakarta
Sansab Museum, Bangkok
Taguchi Art Collection, Tokyo
Vanhaerents Art Collection, Brussels
Edouard Carmignac Collection, Paris
Cecilia and Bruno Dupire, New York
De la Cruz Collection, Miami
Jerry Speyer Family Collection, New York
Jeanne Greenberg Rohatyn, New York
Adam and Brittney Levinson, New York & Singapore
Jim Rogers and Paige Parker, Singapore
Dean Valentine, Los Angeles

  • September 26, 2013
    Hong Kong Daily News — 1 PAGE

  • January 1, 2010
    Collectors' Stage — 1 PAGE

  • October 1, 2009
    Art in Culture — 1 PAGE

  • September 9, 2009
    Korea JoongAng daily — 1 PAGE

  • September 8, 2009
    Korea Times — 1 PAGE

Meyerson’s interest in kinetic imagery -- from football players squaring off at the line of scrimmage to ATVs leaping over sand dunes -- is the primary impulse behind his aggressive manipulations of magazine photos. Rather than maintaining an expanding archive of snapshots or retreating into nostalgic scrapbooks and family albums, Meyerson flips through countless periodicals straight off the rack. The results, whether gleaned from "Cycle World"or "Modern Bride", "Sports Illustrated" or "Life Magazine’s Year in Pictures", are up to the minute cultural artifacts with one thing in common: motion. The concussive force of two injection-molded helmets colliding or the suspended orbit of a soccer ball before it breaches a wall of players en route to the back of the net, might pique Meyerson’s interest at the magazine store, but this is merely the first step in his systematic dismantling and amplification of the image. In Meyerson’s unique brand of physics, motion is added to motion to depict, not just greater speed, but a network of clustered frequencies -- both languid and frenetic -- lying dormant within each image. While computer scrambling and randomizing is a means of revealing this hidden swarm logic, Meyerson goes much further in his painterly attacks by eradicating compositional centrality in favor of parabolic waves in blistering fuchsias and emerald greens. The estuaries of color here don’t so much lap against their neighbor’s shoals with liquid gentleness, as detonate like dispersed shrapnel.
Although serial repetition has long been used to question an image’s originality in the age of mechanical reproduction, Meyerson skirts this shopworn strategy by going straight to the source. Rather than repeat ad infinitum, he depletes, then rearranges, in one fell swoop. For Meyerson, then, the computer has a vampiric function, sucking the lifeblood out of, for instance, a yellow Hummer, not so much to create an undead disciple, but to reanimate the SUV’s constituent parts -- chrome hubs, knobby tires, rectilinear frame -- so that, when completed, the final painting is not a mutant hybrid, a bastardized version or a parasitic leech, but a wholly different beast altogether. This is the definition of Post-Optical painting for Meyerson: incorporating source material, but never reliant upon it; starting from static reality framed on a glossy page and ending with an oily event marked by seismic vibrations. If frequency is a unit of measurement and pitch is what you hear, then Meyerson’s paintings are what you see and feel.

David Hunt

The recent paintings of Korean-born, US-raised, Jin Meyerson could be said to provide his viewer with a prodigious peak into the monstrous, inner workings of the media. Combining a panoply of techniques—India ink, oil paint, spray paint, poured acrylic, etc— Meyerson draws his imagery from various magazine sources, churns it all through his computer, and proceeds to depict it in a style as meticulous as it is charged. And while disaster functions as the ballast of these often vast compositions, detail wins out in a schizophrenic bravura of optical saturation (as in the title of his last solo New York show, High Cholesterol Moment.)
Disaster on a grand scale— in the resounding key of train wrecks, plane crashes, bombings, earthquakes, nuclear meltdowns, to name a few— is very much the starting point of these pictures. As such Meyerson takes on the legacy of Warhol while evoking the cut up/collage, neo-pop paintings of Jeff Koons, via his galvanized palette and rich layering of imagery. However, in Meyerson’s case, it is not just imagery that piles up and is juxtaposed, but whole, disparate worlds or planes of existence, ranging from the history of abstract and figurative or history painting to the grisly, cataclysmal contents of history itself. Perspectives, scales, spaces, and time periods collide, producing unlikely, even amazing juxtapositions. Indeed, Meyerson deliberately tries to approach a given current event before it hardens from its raw, molten state as journalistic ‘fact’ into the geological strata of ‘history.’ But what is truly special about his purchase on current events borders upon the shamanistic: it’s as if he possessed the capacity to vouchsafe the media and its fund of imagistic riches a sort of autonomous existence, either that, or to simply pull back the curtain. Because looking at his roiling imagery, one gets the feeling of gazing into (or being gazed at by?) the visceral unconscious of the media as it “works it out,” tries to assimilate its own weltering, unassimilable content, get it down, and make room for more.
This is white-knuckle stuff, as the post modern, American poet Ted Berrigan once wrote of his own practice: “One hand writing, one hand hanging on.” Meyerson, himself hanging on as he paints, likewise asks us, or rather barely warns us to hang on to our seats when suddenly faced with one of his pictures (because it is always sudden).

Chris Sharp