Korean Art 1900-2020 is expected to live on as a milestone in the Korean art research project with its in-depth exploration of currents over 120 years of Korean art history, as well as the most important artworks and artists of each era. In order to present a wide variety of perspectives and analyses on Korean modern and contemporary art, the compilation involved the participation of 34 writers, including MMCA curators and Korean art experts from various areas. It consists of five parts: “From ‘calligraphy and painting’ to ‘art,’” “Art in a time of war and division,” “The tradition/modernity dynamic in the modernization era,” “Democratization and the pluralization of art,” and “Globalism and contemporary Korean art.” For each topic, texts have been compiled to provide a chronological glimpse of currents in Korean modern and contemporary art history, accompanied by color images of around 400 major artworks and archival materials. A chronology of Korean art history has also been presented to offer an all-in-one survey of 120 years of Korean art.
Chapter 1, titled “From ‘calligraphy and painting’ to ‘art,’” covers the period from Korea’s opening in the late 19th century through the first part of the 20th century and Korea’s liberation in 1945. It examines the ways in which modernity was introduced into the traditional Korean painting world in a time of social and cultural upheavals. In particular, it focuses on changes to traditional painting and the artistic establishment with the advent of the new “art” concept, as well as the new visual culture ushered in by advancements in popular media.
Chapter 2, titled “Art in a time of war and division,” examines the process of Korean art transforming and acquiring its own independence during a time of revolution and chaos extending from liberation until shortly after the end of the Korean War. By also including trends in North Korean art during this time, the book attempts to expand the focus of art history research to the artistic diaspora brought about by the Japanese occupation and the Korean Peninsula’s division.
Chapter 3, titled “The tradition/modernity dynamic in the modernization era,” focuses in particular on the Dansaekhwa (Korean monochrome) movement, experimental art, and Korean artists’ journeys overseas, all of which came about amid transformations in the Korean art world during the postwar restoration and industrialization period from the 1950s to the 1970s.
Chapter 4, titled “Democratization Movement and the pluralization of art,” concentrates on art as a reflection of individual lives and historical currents amid the calls for democratization in 1980s South Korea. It explores the expansive potential of Korean art through a diverse range of fields including the Minjung activist art movement, feminist art, Hangukhwa (Korean painting), crafts, design, architecture, and photography.
Chapter 5, titled “Globalism and contemporary Korean art,” examines the diversification of 21st century Kore...an art under the effects of globalization and internationalization since the 1990s.
7 Youn Bummo_Korean Art: Dynamism and Expansion
PART 1 FROM “CALLIGRAPHY AND PAINTING” TO “FINE ART”
15 Kim Inhye_Introduction
21 Kang Mingi_A Transformation in Traditional Korean Painting
39 Mok Soohyun_The Emergence of New Art Forms and the Reorganization of the Art
Institutions During the Colonial Period
53 Seo Yuri_The KAPF Movement: Art for People and Art for Social Revolution
65 Kim Hyunsook_The Acceptance of Modern Art and the Indigenization of Oil Painting
85 Kwon Heangga_The New Visual Culture of Photography and Print Media
PART 2 ART IN A TIME OF WAR AND DIVISION
101 Liu Jienne_Introduction
105 Shin Soo-kyung_Art in an Era of Reform: Beyond the Crisis of Liberation and the Korean War
125 Hong Jisuk_Socialist Realism and Juche Art: The Formation of North Korean Art in 1945-67
137 Park Soojin_Art of the Korean Diaspora
153 Cho Eunjung_The National Art Exhibition and the Development of the Art World After
Korean Independence
PART 3 THE TRADITION/MODERNITY DYNAMIC IN THE ...MODERNIZATION ERA
175 Park Youngran_Introduction
181 Chung Moojeong_The Development of Korean Modern Art and International Exchange
197 Kho Chung-Hwan_The Expansion of Contemporary Korean Printmaking in the Postwar Period
211 Kim Yisoon_The Development of Korean Sculpture from the 1950s to the 1970s
229 Cho Soojin_Experimental Art: The Beginning of Moving Beyond Conventional Genres
247 Kim Keongyeon_Ink Painting from 1945 to the 1970s: To Inherit or Confront Tradition
265 Kwon Young-jin_Monochrome or Dansaekhwa: The Making of Contemporary Abstraction in
Combination with Korean Tradition
PART 4 DEMOCRATIZATION AND THE PLURALIZATION OF ART
285 Kang Soojung_Introduction
291 Gim Jonggil_Minjung Art Movement
315 Kim Hyeonjoo_The Polyphony of Feminist Art in Korea
335 Song Heekyung_Hangukhwa: Late Twentieth Century Korean Ink Painting
357 Choi Bum_National Mega-Events and the Formation of Korean Design
371 Chung Dahyoung_Writing Architecture in Prose: Korean Urban Architecture in the Late
Twentieth Century
383 Lim Shan_1980s Korean Art Beyond Modernism
399 Song Sujong_The Development of Contemporary Photography: Media Experiments and
Diverse Perspectives
PART 5 GLOBALISM AND CONTEMPORARY KOREAN ART
419 Kim Kyoung-woon_Introduction
423 Yang Eunhee_The Globalization of Contemporary Korean Art in the Era of Biennales
439 Shin Chunghoon_Korean Art and Public Life Since the 1990s
455 Bae Myungji_Korean Video Art Since the 1990s
477 Woo Jung-Ah_The Conceptual Turn of South Korean Art After 1990
495 Helen Jungyeon Ku_The Collective as a New Form of Art Production Since the 2000s
509 Ryu Hanseung_The New Wave of Art: Writing, Movement and Sound
525 Chronology
553 Glossary
557 Contributors
561 List of Plates
569 Index
Grounding themselves in professional education yet pursing individualistic styles, these artists endeavored to become painters in the modern sense. The self-esteem and pride of this generation was explicitly expressed in Lee Qoede’s Self-Portrait in Traditional Coat (late 1940s), which was produced immediately after the country’s liberation from Japan. Painters of this generation can be viewed as imposing a shared duty upon themselves, albeit to varying degrees and using different methods. This collective mission was to determine how to keep traditional Korean aesthetics in harmony with new Western art trends. Each using their own specific means, the painters responded in their works to the question of how historical elements such the aesthetics of simple white porcelain, the imagination and vigorous spirit of ancient Koreans as seen in tomb murals of the ancient Korean kingdom of Goguryeo, the elegant lines of ink-and- wash paintings, and the modest and amiable styles of the Joseon Dynasty could be incorporated into the oil painting forms introduced from the West. 「PART 1 FROM “CALLIGRAPHY AND PAINTING” TO “FINE ART”_Introduction」, Kim Inhye 18pg
The political turmoil that followed in the aftermath of independence-the division into two Koreas, and the ideological conflicts between capitalism and socialism, and social conservatives and liberals-pushed many artists to more intensively search for a means through which to manifest their concerns. Even amid the chaos of the various conflicting associations and organizations, artists right after independence proactively organized and participated in exhibitions to show the types of work and ideas that they had been prevented from presenting in the previous years. The first large scale exhibition was the Art Exhibition in Celebration of National Independence, the first exhibition organized by the Korean Art Construction Headquarters, held at Seokjojeon Hall of Deoksugung Palace from October 20 to 30, 1945. This exhibition, featuring 132 works by ninety- seven artists from all over the country, was organized in just two months, but was considered a successful event in marking the foundation of the country. 「PART 2 ART IN A TIME OF WAR AND DIVISION_Introduction」, Liu Jienne, 101-102pg
The progress of urbanization and industrialization led to social changes, which in turn led to artists’ budding interest in new media and forms such as op art, Neo-Dada, pop art, happenings, and event art. These artists embraced new techniques in their formal experimentation, establishing Korean experimental art in the 1960s and breaking down the boundaries of the field. However, some forms of performance art (such as happenings) were treated as unseemly by the government and censored and restricted. Following the dissolution of the AG, experimental art was passed down through the Space and Time Group (ST). But without a singular dominant formal style, the experimental art scene began to decline. It was around this time t...hat artists began to follow the painterly trend of Dansaekhwa, meaning “monochrome painting.” 「PART 3 THE TRADITION/MODERNITY DYNAMIC IN THE MODERNIZATION ERA_Introduction」, Park Youngran, 176pg
Meanwhile, there also existed alternative art movements in which the participating artists completely abandoned the institutional system centered around Seoul. Some considered the rhythm of nature to be of the utmost importance, and desired to accept art as a wider part of human experience. Pursuing the so-called practice of “nature art” (jayeon misul), they separated themselves from artificial, built exhibition spaces and mainstream art activities, and attempted to realize the unity of art and life. In exhibitions including Geumgang Contemporary Art Festival (1980) and Winter, Open-Air Art Show at Daesung-ri by 31 Artists (1981), many artists presented installations, performances, plays and poetry readings to combine the experience of art and nature at a fundamental level. Later, they continued the practices of ecological art in exhibitions, such as Winter, Open-Air Art Show at Daesung-ri or through organizations, such as Korean Nature Artists’ Association·YATOO. 「PART 4 DEMOCRATIZATION AND THE PLURALIZATION OF ART_Introduction」, Kang Soojung, 287
Public support for artists also diversified. Korea Culture and Arts Foundation, an entity that was originally founded in 1973, was newly launched as the Arts Council Korea, a private autonomous organization following the 2005 Culture and Arts Promotion Act. The Korea Arts Management Service was also established in 2006 to systemically support artwork distribution and artists’ autonomy. Creative studios that provided workspaces and supported artists’ creative endeavors were also established and later developed organized residency programs. The Gwangju Museum of Art formed the Palgakjeong Art Studio in 1995, and the MMCA began the Changdong and Goyang Residencies in 2002 and 2004 respectively which were followed by many more public and private residencies peppered across the country. Around the turn of the millennium, alternative spaces also emerged to support up-and-coming artists. These provided exhibition spaces and support for young artists who had been unable to find a foothold in the mainstream after the chaos caused to the art market by the IMF crisis in 1997. 「PART 5 GLOBALISM AND CONTEMPORARY KOREAN ART_Introduction」, Kim Kyoung-woon, 420pg
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