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Korean Dansaekhwa painting emerged in the 1970s as a reaction to the academicism of the National Art Exhibition and the country's rapidly changing social and political landscape. Characterized by its emphasis on the monochrome, its refined approach to materiality and its philosophical interest in the relationship between the artist's consciousness and the act of making, Dansaekwha borrowed materials, techniques and motifs from both Eastern and Western painting traditions. The Art of Dansaekhwa explores how the Dansaekhwa movement flourished within the then-contemporary art scene in Korea and beyond, telling the story of the development of contemporary art practice in Korea through the work of Dansaekhwa artists Kim Guiline, Chung Sang-Hwa, Chung Chang-Sup, Ha Chong-Hyun, Lee Ufan, Park Seo-Bo and Yun Hyong-Keun.
A crucial artistic movement of twentieth-century Korea, Tansaekhwa (monochromatic painting) also became one of its most famous and successful. In this full-color, richly illustrated account--the first of its kind in English--Joan Kee provides a fresh interpretation of the movement's emergence and meaning that sheds new light on the history of abstraction, twentieth-century Asian art, and contemporary art in general.
"Published on the occasion of the exhibition 'From All Sides: Tansaekhwa on Abstraction', September 13-November 8, 2014, Blum & Poe"--Page 167.
Dansaekhwa is an artistic approach founded on the experiences of those who participated in the first generation of Korean modernism. Among those compiled in this beautiful and substantial catalogue are Chung Chang-Sup, Chung Sang-Hwa, Ha Chong-Hyun, KIM Whanki, Kwon Young-Woo, Lee Ufan and Park Seo-Bo.
Over the past decades, Korea has gradually risen to become one of the global representatives of Asian culture. Korean artists have been increasingly active at an international level, with many being invited for residencies and exhibitions all over the world. Nonetheless, for various reasons, the general understanding of Korean contemporary art remains insufficient. Although a few overviews of Korean contemporary art do exist, they typically focus on the history of art groups and movements. In addition, several anthologies have been published with articles on a range of topics, offering multiple perspectives. However, there have been few attempts to provide a unified synopsis of Korean contemporary art. Presenting a comprehensive, engaging survey that covers the full spectrum of Korean contemporary art, Korean Art since 1945: Challenges and Changes seeks to fill this lacuna. Drawing on primary sources, it discusses the main issues, including the ideological stakes that affected the art world, modernist art vs. political art, and the fluidity of concepts such as tradition and national identity. Moreover, the book also has a chapter on the art of North Korea. Korean Art since 1945: Challenges and Changes is an invaluable tool for those intent on grasping the entire scope of modern art in Asia.
A leading figure of the Korean avant-garde Dansaekhwa group in dialogue with European abstraction Chung Sang-Hwa (born 1932) is a central figure of Dansaekhwa (also known as Tansaekhwa), an artistic movement in postwar Korea that offered a fundamentally different approach to modernist abstraction. Though the term translates literally to "monochrome painting," Dansaekhwa is rather characterized by its labor-intensive processes, repetitive gestures and reductionist aesthetics. Over his nearly six-decades-long career, Chung has developed a singular, meditative process of repetitively applying and removing paint from his canvases, resulting in multilayered, tactile monochromatic surfaces. Chung Sang-Hwa: Excavations, 1964-78highlights a critical period in the artist's career in which he was immersed in the international avant-garde movements of both Asia and Europe. This fully illustrated volume includes an essay by critic Barry Schwabsky, a translated excerpt from the writings of Shin Young-Bok by Harvard professor David McCann, and an interview with Chung Sang-Hwa by Bona Yoo.
Ha Chong Hyun (born 1935) is one of Korea's most acclaimed artists and a leading member of the artistic movement known as Dansaekhwa. Ha's own multifaceted practice was expansive: moving from gestural abstract painting in the style known as "Korean Informel," to geometric nonfigurative painting, to conceptual sculpture and installation that audaciously experimented with materiality and spatiality and revolutionized modern art in Korea. Ha Chong Hyun is the most comprehensive publication to explore the artist's work to date. Hundreds of full-color images gorgeously illustrate Ha's four decades of art making. Major new texts by scholars and art historians Kyung An, H.G. Masters and Barry Schwabsky incisively explore Ha's work and the broader movements in Korean art of which he was a part, from Dansaehkwa to the Avant Garde Association.
The comprehensive catalogue accompanying the exhibit at the Palazzo Fortuny in Venice features an internationally famous Korean artist whose work has received little attention in Germany until now. Yun Hyong-keun was one of the most prominent abstract monochromists. He belongs to a generation of artists whose influence over art has been crucial since the end of the Korean War. In the 1970s Yun Hyong-keun joined the Dansaekhwa movement, a leading group of Korean artists whose monochromatic paintings intensively explored the effects and nature of color. This volume is a cornucopia of artistic and personal materials from the estate of Yun Hyong-keun, which have provided profound insight into the life and work of one of the twentieth century's most important Korean artists.
This is the definitive monograph on the “godfather” of Korean contemporary art, master painter Park Seo-Bo, also the founder of Korea’s Dansaekhwa movement. Park Seo-Bo was born in 1931, in Yecheon, Gyeo-ngbuk, South Korea, as part of a generation that was deeply affected by the Korean War (1950–1953). While in Paris in 1961, he initially experimented with Western abstraction. Returning to Korea, he began exploring a more introspective methodology based on Taoist and Buddhist philosophies, as well as traditional Korean calligraphy. Park is best known for his “Écriture” series of paintings. Beginning in the late 1960s, this lifelong work encapsulates his deeply spiritual approach, which is inextricably linked to notions of time, space, and materiality. Park began his practice using recurrent pencil lines incised into a monochromatic freshly painted surface. He later developed this language by applying hanji (traditional Korean handmade mulberry paper), to the surface of his canvases. Along with very precise introductions of color, this transformed his practice while continuing his quest for achieving “emptiness” through a meticulous process of reduction. Beautifully showcased in this seminal book, Park’s masterworks embody the core philosophy of contemplative mark-making. Evoking the natural landscapes and scenery of his motherland, Park’s keen sensibility for colors, shapes, and textures traces the memories of his childhood through to his invaluable artistic and educational legacies for Korea.
The first comprehensive survey to explore the rich and complex history of contemporary Korean art - an incredibly timely topic Starting with the armistice that divided the Korean Peninsula in 1953, this one-of-a-kind book spotlights the artistic movements and collectives that have flourished and evolved throughout Korean culture over the past seven decades - from the 1950s avant-garde through to the feminist scene in the 1970s, the birth of the Gwangju Biennale in the 1990s, the lesser known North Korean art scene, and all the artists who have emerged to secure a place in the international art world.