Anicka Yi

When she was two, Yi's family moved from Korea to Alabama and then to California. Her father is a Protestant minister and her mother works at a biomedical corporation. She has stated that she grew up in a Korean-American home.{{Why|date=May 2020}}Ross Simonini, [http://www.artinamericamagazine.com/news-features/magazines/in-the-studio-anicka-yi/ "In the Studio: Anicka Yi"], Art in America, March 24, 2017

After she graduated from Hunter College, she lived in London, where she freelanced for several years doing work as a fashion stylist and copywriter. It was at the age of 30 that she began to experiment with art, as she explored her interests in perfumery and science. Her first artworks were produced in 2008, when she was a member of an art collective, Circular File, along with Josh Kline and Jon Santos.

In her practice, Yi uses scent, tactility and perishability as a means to reconfigure the epistemological and sensorial terms of a predominantly visual art world.[http://www.frieze.com/issue/article/anicka-yi/%E2%80%9D%20target=/ “Anicka Yi”] {{webarchive|url=https://web.archive.org/web/20151208065343/http://www.frieze.com/issue/article/anicka-yi/%E2%80%9D%20target%3D/ |date=2015-12-08 }} Focus, frieze, January 2014

Yi is known for her use of unorthodox, often living and perishable materials, including: tempura-fried flowers, canvases fashioned from soap, stainless-steel shower heads, fish oil pills, shredded Teva sandals boiled in recalled powdered milk, and bacteria. David Everitt Howe in Art Review wrote in 2018 that this "incongruous mix of media" is “arranged into something elegantly allegorical about the various industries that constitute our identity."David Everitt Howe, [https://artreview.com/features/2014_futuregreats_anicka_yi_2018_update/ “Anicka Yi”], 2014 FutureGreat”, ArtReview, March 2014

Yi often manipulates these unconventional materials, sometimes completely transforming them, as in the case of kombucha which she fermented into leather-like material. For a work entitled verbatem? verbatom? 4 created in 2014 for her exhibit "Divorce" at 47 Canal, she injected live snails with oxytocin.

Yi cites writing as a primary element of her practice. In an interview with Ross Simonini, she explained, "Writing is one of my primary tools. I often discover my thoughts about the work through writing. Syntax, sentence structure . . . these things really help. I write a lot of backstory for my sculptures, as if they’re characters in a novel or screenplay. I share this writing with friends, but no one else sees it. I’m not really a visual person. I don’t think in images. I don’t sketch things. I don’t use visual references as much as I should. It’s a huge handicap for me. My writing doesn’t capture the idea for the work as a sketch would. So maybe I’m not working in the most productive way. My starting point is verbal."

She has also described her process as similar to, but an inverted version of, the scientific process employed in science labs. "Scientists have their hypothesis and then spend the next 20 or 30 years of their career trying to prove it, whereas artists won’t really understand what their hypothesis was until the end of their career."

In her 2015 show at The Kitchen in New York City, You Can Call Me F, Yi took swabs from 100 women and with the help of MIT synthetic biologist Tal Danino cultivated the bacteria in an agar billboard that “assaults visitors” to help answer the question “What does feminism smell like?"Lauren O'Neill-Butler, [http://www.artforum.com/picks/section=nyc#picks50694 “Anicka Yi – The Kitchen”], Artforum, March 2015 Each woman was given the choice to where she would take a swab from her body, which ranged from the mouth to the vagina.{{cite news |last1=Scott |first1=Andrea |title=Scent of a Woman |url=https://www.newyorker.com/culture/culture-desk/scent-of-a-woman |access-date=6 April 2019 |magazine=The New Yorker |publisher=Condé Nast |date=3 April 2015}} She and Danino developed this work through "The Art and Science of Bacteria" a workshop they led during her residency at MIT.[https://arts.mit.edu/artists/anicka-yi/#about-the-residency] "The Art and Science of Bacteria", She explained that she wanted this work to explore the "patriarchal fear" surrounding hygiene and the female body.Hilarie M. Sheets,"At M.I.T., Science Embraces a New Chaos Theory: Art" [https://www.nytimes.com/2016/03/06/arts/design/at-mit-science-embraces-a-new-chaos-theory-art.html] The New York Times, March 4, 2016 In the exhibition, Yi aimed to represent women's bodies in the form of smells rather than sights, denouncing what New Yorker writer Andrea K. Scott writes as "salacious male expectations".

Yi was the winner of the biannual 2016 Hugo Boss Prize presented by the Guggenheim.{{Cite news|url=https://news.artnet.com/art-world/anicka-yi-wins-2016-hugo-boss-prize-712673|title=Anicka Yi Wins $100,000 Hugo Boss Prize 2016 |date=2016-10-21|work=artnet News|access-date=2017-03-11|language=en-US}} In 2017, Yi debuted at the Guggenheim with the exhibition Life Is Cheap, which explores her "sociopolitical interest in the olfactive."{{cite web|title=Artist Anicka Yi's Scents and Sensibilities|url=https://www.vogue.com/article/anicka-yi-guggenheim-contemporary-art-life-is-cheap|website=Vogue|date=5 May 2017|publisher=Condé Nast|access-date=27 October 2017}}

In the entrance of this exhibit, visitors encountered an aroma designed by the artist to be a hybrid scent of ants and Asian American women and named Immigrant Caucus.Karen Rosenberg, [https://www.nytimes.com/2017/05/11/arts/design/please-smell-the-art-anicka-yi-will-see-that-you-do.html], The New York Times, May 11, 2017 The central gallery space had two works facing each other with distinct, contained biospheres. One work, enclosed in a temperature-regulated space, Force Majeure features plexiglass tiles covered in agar on which bacteria, sourced from Chinatown and Koreatown in Manhattan, grow. The other work, Lifestyle Wars contains a colony of ants on a structure that resembles a circuit board, referencing the organization of society and the relationship of technology to this ordering.

File:Anicka Yi at the Guggenheim.jpg

In a video produced by the Guggenheim, Yi explains that "You're dealing with a society that is overly obsessed with cleanliness. And that's partially why I do work with bacteria as a material. Especially in the West, we have this morbid fear of pungent aromas, of bacteria. I'm giving a kind of visualization to people's anxieties about all the germs and bacteria that are proliferating all around us."{{Cite web|url=https://www.guggenheim.org/video/the-hugo-boss-prize-2016-anicka-yi-life-is-cheap|title=The Hugo Boss Prize 2016: Anicka Yi, Life is Cheap}}

The 2017 Whitney Biennial included Yi's 22-minute 3D video entitled The Flavor Genome, which follows a chemist searching through the Brazilian Amazon for a special plant. In the story, this plant is thought to have medicinal properties, so it is appealing to the pharmaceutical industry.Object Label from 2017 Whitney Biennial, http://whitney.org/Exhibitions/2017Biennial#artists-42 The film considers themes ranging from bioengineering to imperialism.

Yi's contribution to the group exhibition "May You Live in Interesting Times" at the 2019 Venice Biennale consisted of two sculptural installations. Biologizing the Machine (tentacular trouble) featured a grouping of illuminated cocoon-like pods made from stretched strips of dried kelp, which contained animatronic moths, whose shadows cast on the walls of the pods signify their fluttering presence.{{Cite web |title=Anicka Yi - Biologizing the Machine |url=https://bagrifoundation.org/events/anicka-yi-biologizing-the-machine/ |access-date=2022-11-21 |website=Bagri Foundation - celebrating Arts and Ideas from across Asia |language=en-GB}} Beneath the pods, a curvaceous concrete base was marked by burbling ponds of water, housed in craters that sit at the foot of each pendant sculpture. The surface recalls the lunar landscape or, perhaps, that of another celestial body, gesturing towards the evolution of life, despite all, in inhospitable locales—what biologists call extremophiles.

The other component of Yi's Biennale entry was titled Biologizing the Machine (terra incognita), and used mud from the area around Venice, Italy, in order to create what the artist calls Winogradsky panels. These acrylic frames house the soil mixed with calcium carbonate, calcium sulfate, egg yolks, and cellulose in order to create a Winogradsky column, wherein bacteria within the soil sample separate into colorful gradients of aerobic and anaerobic strata. The results resemble abstract paintings that are created with the aid of one of humanities many helper species, which themselves figure largely in Yi's work.

During the COVID-19 pandemic, Yi's studio, in collaboration with numerous technical specialists, mounted an ambitious project to fill the massive space of the Tate Modern's Turbine Hall with "aerobes": drone-like dirigibles whose movements were guided by artificial intelligence. Yi conceived of the hall's cavernous expanse as a kind of aquarium and she created two different types of mechanical organisms to inhabit it: xenojellies, which are tentacular, as well as more buoyant and mobile, exhibiting curiosity in foreign bodies. The other form of organism is a planulae, which is similar to an amoeba or protist, and its movements are restricted to hovering about near the bottom of the imagined aqueous environment. These forms are coated in tiny hairlike protrusions, meant to evoke cilia. Within a set of predetermined parameters, the aerobes moved about the hall according to movements of their own design, occasionally nesting in a maintenance area to have their batteries recharged, before rejoining the biosphere the artist devised as their environment.

Yi works very closely with researchers at universities, including Columbia University and MIT. She worked especially closely with MIT Postdoctoral Fellow Tal Danino during her residency there. The pair developed new biological materials together.

In many interviews, Yi has explained that she considers her work in smell to be a feminist response to visually-centered work designed around the male gaze.Jane Yong Kim,[https://www.theparisreview.org/blog/2015/04/06/feminist-fumes/ "Feminist Fumes'], The Paris Review, April 6, 2015 She has also commented on the gendered hierarchies of the senses, arguing for the revaluation of the sense of smell. As a self-taught connoisseur of perfumery, she seeks to elevate it from its relegation to the beauty industry.Kari Rittenbach, [https://frieze.com/article/anicka-yi "Anicka Yi: Narratives of Scent and Material Decay"]. Frieze, 11 January 2013 In the writings of critics such as Hsuan Hsu{{cite book |last1=Hsu |first1=Hsuan L. |title=The Smell of Risk: Environmental Disparities and Olfactory Aesthetics |date=2020 |publisher=New York University Press |location=New York |isbn=9781479810093 }} and Rachel Lee,{{cite journal |last1=Lee |first1=Rachel |title=Metabolic Aesthetics: On the Feminist Scentscapes of Anicka Yi |journal=Food, Culture & Society |date=Nov 2019 |volume=22 |issue=5 |pages=692–712 |doi=10.1080/15528014.2019.1638140 }} Yi's work has also been understood at the intersection of critiques of both racial discrimination and gender inequality.

Critic Jane Yong Kim wrote about her 2015 show at The Kitchen, which included a piece displaying the organic matter from cheek swabs taken from over hundred women. Kim explains that these bacteria represent how women's bodies can pose threats from the potential for such bacteria to cause infections.

New York publications have compared her work to that of Joseph Beuys, Matthew Barney, Robert Gober and Darren Bader.Sarah Nicole Prickett, [http://www.interviewmagazine.com/art/anicka-yi#_ “Anicka Yi”], Interview, 2014 Some strategies she uses in her exhibits, such as You Can Call Me F, a New Yorker writer described to be reminiscent of Marcel Duchamp. The scholar Caroline A. Jones uses the term "bio-fiction" to describe Yi's work. She describes her works as exploring "a biopolitics of the senses."{{cite web|title=The Hugo Boss Prize 2016: Anicka Yi, Life Is Cheap|url=https://www.guggenheim.org/exhibition/the-hugo-boss-prize-2016|website=Guggenheim.org|publisher=Solomon R. Guggenheim Museum|access-date=24 January 2018}}

• 2011: Excuse Me, Your Necklace Is Leaking, Green Gallery, Milwaukee
• 2011: SOUS-VIDE, 47 Canal, New York
• 2013: Denial, Lars Friedrich, BerlinDaniel Horn [https://www.artforum.com/picks/id=44661], Art Forum
• 2014: Divorce, 47 Canal, New York{{cite web |url=http://47canal.us/main.php?1=ay&2=ex |title=Anicka Yi |website=47canal.us |url-status=dead |archive-url=https://web.archive.org/web/20150403014821/http://47canal.us/main.php?1=ay&2=ex |archive-date=2015-04-03}}
• 2014: Death, Cleveland Museum of Art, Cleveland, OH{{Cite web |last=kmiers |date=2014-07-29 |title=Anicka Yi: Death |url=https://www.clevelandart.org/exhibitions/anicka-yi-death |access-date=2022-11-22 |website=Cleveland Museum of Art |language=en}}
• 2015: 6,070,430K of Digital Spit, List Visual Arts Center, Cambridge, MA{{Cite web |date=2022-01-13 |title=Anicka Yi: 6,070,430K of Digital Spit {{!}} MIT List Visual Arts Center |url=https://listart.mit.edu/exhibitions/anicka-yi-6070430k-digital-spit |access-date=2022-11-18 |website=listart.mit.edu |language=en}}
• 2015: 7,070,430K of Digital Spit, Kunsthalle Basel, SwitzerlandCasey Quackenbush, "An 'Olfactory Art Installation' By MIT-Trained Artist" [http://observer.com/2015/07/bacteria-artist-targets-the-nose-not-the-eyes/] The New York Observer, 30 July 2015
• 2016: Jungle Stripe, Fridericianum, Kassel{{Cite web |title=Anicka Yi, "Jungle Stripe" |url=https://archiv3.fridericianum.org/files/pdfs/1635/anicka-yi-booklet-en.pdf }}
• 2017: Life Is Cheap, 2016 Hugo Boss Prize, Solomon R. Guggenheim Museum, New York
• 2021: In Love WIth The World, Hyundai Commission, Turbine Hall, Tate Modern, London{{Cite web |last=Tate |title=Anicka Yi {{!}} Tate Modern |url=https://www.tate.org.uk/whats-on/tate-modern/hyundai-commission-anicka-yi |access-date=2022-11-18 |website=Tate |language=en-GB}}
• 2022: Metaspore, Pirelli HangarBicocca, Milan{{Cite web |title=Anicka Yi - Exhibition Metaspore |url=https://pirellihangarbicocca.org/en/exhibition/anicka-yi/ |access-date=2022-11-18 |website=Pirelli HangarBicocca |language=en-US}}
• 2023: The Postnatal Egg, Indianapolis Museum of Art, Indianapolis, Indiana{{Cite web |title=The Postnatal Egg: Heliconius, Archaic Cusp, Memory Sleeper Cell, Sunspool, Volcanic Endpoint, Realising the Human from the Human |url=https://discovernewfields.org/postnatal-egg |access-date=2025-01-23 |website=discovernewfields.org |language=en}}
• 2024: There Exists Another Evolution, But In This One, Leeum, Samsung Museum of Art{{Cite news |last=Sim |first=Woo-seop |date=2024-09-11 |title=아니카 이 개인전 "인간과 비인간의 만남" |url=https://news.sbs.co.kr/news/endPage.do?news_id=N1007797245 |work=SBS News}}

• 2010: "179 Canal / Anyways," White Columns, New York, NY{{Cite web |title=179 Canal / Anyways |url=https://whitecolumns.org/exhibitions/179-canal-anyways/ |access-date=2022-11-21 |website=White Columns |language=en}}
• 2011: "Inside/Outside: Dressing the Monument," Lynden Sculpture Garden, Milwaukee, WI{{Cite web |title=Inside/Outside: Dressing the Monument |url=https://www.lyndensculpturegarden.org/exhibitions/insideoutside-dressing-monument |access-date=2022-11-21 |website=www.lyndensculpturegarden.org |language=en}}
• 2011: "Looking Back," The 6th White Columns Annual, White Columns, New York, NY{{Cite web |title=Looking Back / The Sixth White Columns Annual |url=https://whitecolumns.org/exhibitions/looking-back-the-6th-white-columns-annual-selected-by-ken-okiishi-and-nick-mauss/ |access-date=2022-11-21 |website=White Columns |language=en}}
• 2012: "A Disagreeable Object," Sculpture Center, New York, NY{{Cite web |title=A Disagreeable Object |url=https://www.sculpture-center.org/exhibitions/3381/a-disagreeable-object |access-date=2022-11-21 |website=www.sculpture-center.org |language=en}}
• 2012: "THE LOG-O-RITHMIC," Galleria d'Arte Moderna e Contemporanea di Bergamo, Bergamo, Italy{{Cite web |title=The Log-O-Rithmic {{!}} GAMeC |url=https://www.gamec.it/the-log-o-rithmic/ |access-date=2022-11-21 |language=it-IT}}
• 2013: "Some End of Things," Kunstmuseum Basel—Gegenwart, Basel, Switzerland{{Cite web |last=zephir.ch |title=Some End of Things |url=https://kunstmuseumbasel.ch/en/exhibitions/2013/some-end-of-things |access-date=2022-11-21 |website=kunstmuseumbasel.ch |language=en}}
• 2013: "Meanwhile...Suddenly and Then," 12. Biennale de Lyon, Lyon, France
• 2013: "Love of Technology," Institute of Contemporary Art, Miami, FL{{Cite web |title=Love of Technology |url=https://icamiami.org/exhibition/love-of-technology/ |access-date=2022-11-21 |website=Institute of Contemporary Art, Miami |language=en-US}}
• 2014: "The Great Acceleration," Taipei Biennial, Taipei Fine Arts Museum, Taiwan{{Cite web |title=2014 台北雙年展／劇烈加速度 藝術在人類世 |url=http://www.taipeibiennial2014.org/ |access-date=2022-11-21 |website=TAIPEI BIENNIAL 2014 台北雙年展 |language=zh-tw}}
• 2015: "Inhuman," Fridericianum, Kassel{{Cite web |title=Inhuman |url=http://archiv3.fridericianum.org/exhibitions/inhuman |access-date=2022-11-21 |website=archiv3.fridericianum.org |language=en}}
• 2015: "NO MAN’S LAND: Women Artists from the Rubell Family Collection," Rubell Museum, Miami, FL{{Cite web |title=About the Exhibition |url=https://rubellmuseum.org/no-mans-land |access-date=2022-11-21 |website=rubellmuseum.org}}
• 2016: "The Eighth Climate (What Does Art Do?)," 11th Gwangju Biennale, Gwangju, South Korea{{Cite web |title=the8thclimate.org |url=http://the8thclimate.org// |access-date=2022-11-21 |website=the8thclimate.org |language=en}}
• 2016: "NO MAN’S LAND: Women Artists from the Rubell Family Collection," National Museum of Women in the Arts, Washington, D.C.
• 2016: "Overpop," Yuz Museum, Shanghai, China{{Cite web |title=Overpop |url=http://www.yuzmshanghai.org/overpop-en/?lang=en |access-date=2022-11-21 |website=Yuz Museum Shanghai |language=en-US}}
• 2017: Whitney Biennial, Whitney Museum of American Art, New York, NY
• 2017: "An Inventory of Shimmers," List Visual Arts Center, Cambridge, MA{{Cite web |date=2022-01-13 |title=An Inventory of Shimmers: Objects of Intimacy in Contemporary Art {{!}} MIT List Visual Arts Center |url=https://listart.mit.edu/exhibitions/inventory-shimmers-objects-intimacy-contemporary-art |access-date=2022-11-21 |website=listart.mit.edu |language=en}}
• 2017: "The Dream of Forms," Palais De Tokyo, Paris, France{{Cite web |title=The Dream of Forms - Palais de Tokyo |url=https://palaisdetokyo.com/en/exposition/the-dream-of-forms/ |access-date=2022-11-21 |website=palaisdetokyo.com |language=en-US}}
• 2017: "Trigger: Gender as a Tool and a Weapon," New Museum, New York, NY{{Cite web |title=Trigger: Gender as a Tool and a Weapon |url=http://www.newmuseum.org/exhibitions/view/trigger-gender-as-a-tool-and-as-a-weapon |access-date=2022-11-21 |website=www.newmuseum.org |language=en}}
• 2018: "Art in the Age of the Internet, 1989 to Today," The Institute of Contemporary Art, Boston, MA{{Citation |title=Art in the Age of the Internet, 1989 to Today |url=https://www.icaboston.org/exhibitions/art-age-internet-1989-today |access-date=2022-11-21}}
• 2018: "In Tune with the World," Fondation Louis Vuitton, Paris, France{{Cite web |title="In Tune with the World" Fondation Louis Vuitton, Paris |url=https://www.fondationlouisvuitton.fr/en/events/in-tune-with-the-world}}
• 2018: "The Racial Imaginary Institute: On Whiteness," The Kitchen, New York, NY{{Cite web |title=The Kitchen: The Racial Imaginary Institute: On Whiteness |url=https://thekitchen.org/event/the-racial-imaginary-institute-on-whiteness |access-date=2022-11-21 |website=thekitchen.org}}
• 2019: "May You Live in Interesting Times," Venice Biennale 2019, Venice, Italy{{Cite web |date=2019-03-04 |title=Biennale Arte 2019 {{!}} Biennale Arte 2019: May You Live In Interesting Times |url=https://www.labiennale.org/en/news/biennale-arte-2019-may-you-live-interesting-times |access-date=2022-11-21 |website=La Biennale di Venezia |language=en}}
• 2019: "New Order: Art and Technology in the Twenty-first Century," Museum of Modern Art, New York, NY{{Cite web |title=New Order: Art and Technology in the Twenty-First Century {{!}} MoMA |url=https://www.moma.org/calendar/exhibitions/5033 |access-date=2022-11-21 |website=The Museum of Modern Art |language=en}}
• 2019: "The Body Electric," Walker Art Center, Minneapolis, MN{{Cite web |title=The Body Electric |url=https://walkerart.org/calendar/2019/http:://walkerart.org/calendar/2019/body-electric |access-date=2022-11-21 |website=walkerart.org |language=en-US}}
• 2019: "Producing Futures: An Exhibition on Post-Cyber-Feminisms," Migros Museum für Gegenwartskunst, Zurich, Switzerland{{Cite web |title=Producing Futures – An Exhibition on Post-Cyber-Feminisms |url=https://migrosmuseum.ch/en/exhibitions/producing-futures-an-exhibition-on-post-cyber-feminisms |access-date=2023-03-20 |website=Migros Museum für Gegenwartskunst |language=en}}
• 2020: "Psychic Wounds: On Art & Trauma," The Warehouse, Rachofsky Collection, Dallas, TX{{Cite web |title=The Warehouse Dallas {{!}} Psychic Wounds: On Art & Trauma |url=https://thewarehousedallas.org/exhibition/psychic-wounds-on-art-trauma/ |access-date=2022-11-21 |website=The Warehouse Dallas |language=en-US}}
• 2021: "Catastrophe and Recovery," National Museum of Modern and Contemporary Art, Seoul, South Korea{{Cite web |title=Catastrophe and Recovery, National Museum of Modern and Contemporary Art, Korea |url=https://www.mmca.go.kr/eng/exhibitions/exhibitionsDetail.do?exhId=202101290001372}}
• 2022: "Symbionts: Contemporary Artists and the Biosphere," List Visual Arts Center, Cambridge, MA{{Cite web |date=2022-02-17 |title=Symbionts: Contemporary Artists and the Biosphere {{!}} MIT List Visual Arts Center |url=https://listart.mit.edu/exhibitions/symbionts-contemporary-artists-biosphere |access-date=2022-11-21 |website=listart.mit.edu |language=en}}

• 2011: The Louis Comfort Tiffany Foundation Award{{Cite web|url = http://www.transformerstation.org/EXHIBITIONS/Past%20Exhibitions/Anicka%20Yi/index.html|title = Transformer Station|date = |website = |publisher = |last = |first = }}
• 2014-2015: Visiting Artist at the MIT Center for Art, Science & Technology
• 2016: Hugo Boss Prize
• 2023: Creative Capital Awards{{Cite web |title=Creative Capital Awards |url=https://creative-capital.org/creative-capital-awards/ |access-date=2025-01-23 |website=Creative Capital |language=en}}

• 2015: Anicka Yi: 6,070,430K of Digital Spit (Cambridge, MA: MIT List Visual Arts Center).{{cite book|last1=Yi|first1=Anicka|editor1-last=Upitis|editor1-first=Alise|title=Anicka Yi: 6,070,430K of Visual Spit|date=2015|publisher=MIT List Visual Arts Center / Mousse Publications|location=Cambridge / Milano|isbn=978-88-6749-131-5}}
• 2021: Anicka Yi: In Love With The World (London: Tate).
• 2022: Anicka Yi: Metaspore (Milan: Pirelli HangarBicocca).

• 2014: 'Lonely Samurai'{{citation|title=Lonely Samurai|work=lonelysamurai.com|year=2014}}

Yi was part of the jury that selected Stephanie Dinkins for the 2023 [https://lgartssponsorship.lg.co.kr/ LG Guggenheim Award], an international art prize established as part of a long-term global partnership between LG Group and the Solomon R. Guggenheim Museum to recognize groundbreaking artists in technology-based art.{{Cite web |date=May 19, 2023 |title=Stephanie Dinkins Named Inaugural Recipient of the LG Guggenheim Award |url=https://lgartssponsorship.lg.co.kr/press-kit/2023_LG-Guggenheim-Award_Press-Release_English_05-19-2023.pdf |url-status=live |archive-url=https://www.guggenheim.org/press-release/stephanie-dinkins-named-inaugural-recipient-of-the-lg-guggenheim-award |archive-date=May 19, 2023 |access-date=March 5, 2025 |website=lgartssponsorship.lg.co.kr/}}

{{reflist}}

• [https://brooklynrail.org/2020/07/criticspage/Anicka-Yi-with-Olivier-Berggruen "In Conversation: Anicka Yi with Olivier Berggruen,"] interview with Olivier Berggruen, Brooklyn Rail
• [https://www.youtube.com/watch?v=WhCelmJwZZw "Virtual Studio Visit: Klaus Biesenbach in Conversation with Anicka Yi,"] YouTube video

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{{DEFAULTSORT:Yi, Anicka}}

Category:1971 births

Category:Living people

Category:Artists from New York City

Category:Artists from Seoul

Category:South Korean contemporary artists

Category:South Korean emigrants to the United States

Category:Women conceptual artists

Category:South Korean women artists

Category:21st-century women artists

Category:Olfactory art