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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.
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.
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.
"Landlord Colors: On Art, Economy, and Materiality reconsiders periods of economic and social collapse through the lens of artistic innovations and material-driven narratives. It examines five art scenes generated during heightened periods of upheaval: America’s Detroit from the 1967 rebellion to the present; the cultural climate of the Italian avant-garde during the 1960s-1980s; authoritarian-ruled South Korea of the 1970s; Cuba since the collapse of the Soviet Union in the 1990s to the present; and contemporary Greece since the financial crisis of 2009. Featuring more than sixty artists, Landlord Colors is a landmark exhibition, publication, and public art and performance series. While the project unearths microhistories and vernaculars specific to place, it also examines a powerful global dialogue communicated through materiality. Landlord Colors discovers textured and unexpected relationships between these artists whose investigations share themes of ingenuity, resourcefulness, and resistance." -- Cranbrook Art Museum website
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.
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.
"Published on the occasion of the exhibition 'From All Sides: Tansaekhwa on Abstraction', September 13-November 8, 2014, Blum & Poe"--Page 167.