Abstract
The unpublished travel photographs of Singapore‐born British artist Kim Lim (1936–97) reveal the diverse reference points for her sculptures. Thus far, critical literature on Lim's practice has not yet regarded the body of photographs taken by her across five decades, largely because her photography remained a private undertaking throughout her artistic career. As ephemera relating to her sculptural making, they are essential to the way that we encounter her practice today and reveal her own approach to ‘minimalism’ outside of its burgeoning developments in Euro‐American contexts. Bringing together a selection of travel and art photographs taken by Kim Lim, this essay asks what these works suggest is at stake for us now, and, specifically, the kinds of engagement that they enable with Lim's practice today.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
