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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 work of the trailblazing Korean artist.
"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
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.
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.
"Published in conjunction with the exhibition Ink Dreams: Selections from the Fondation INK Collection"--
This is the first comprehensive monograph on master artist Yoo Youngkuk, one of Korea's most popular modernists and considered a "magician of colors." Yoo Youngkuk was born and raised in the remote hinterlands of Uljin, South Korea. In the 1930s, he left to study art in Japan and returned to Korea in 1943 amid the turmoil of the Pacific War, when he earned a living as a fisherman and liquor maker while continuing to paint. After 1955, he resumed his art practice in earnest, leading many early avant-garde groups and lecturing. His works later brought him national recognition, drawing much praise from critics and the public alike. From the 1960s onward, he withdrew from group activities and devoted himself entirely to working in his studio, exhibiting every two years. Yoo's unique compositional approach and formal techniques uncovered a prototype of nature in color palettes and geometric forms. His unshakable belief in the power of abstraction formulated an enduring modernist view of civilization and history. Showcased for the first time in this beautiful book, his seminal works embody the core philosophy of Korean identity and "national art." Reminiscent of the deep waters, rugged mountains, fertile valleys, and brilliant sun of his Uljin hometown, Yoo's powerful aesthetic draws viewers into his quintessence of nature in a directly emotional way.
Profiles the artists Chung, Chang-Sup; Yun, Hyong-Keun; Kim, Tschang-Yeul; Park, Seo-Bo; Lee, U-Fan; and Lee, Kang-So.
The catalogue accompanies an exhibition that brings together many of the interests that have characterised Kiefer's work for decades, including mythology, astronomy and history. Located across the entire Bermondsey space, it features a large-scale installation and paintings that draw on the scientific concept known as string theory. 00String theory is a mathematical model that attempts to articulate the known fundamental interactions of the universe and forms of matter. In this new body of work, Kiefer has 'tried to bring together theories of seemingly extraneous principles from different cultures and histories', so that complex scientific theory is connected with subject matter from ancient mythology. In so doing, Kiefer makes visual the idea that, "Everything is connected: the missing letters, string theory, the Norns, the Gordian knot."00Exhibition: White Cube Bermondsey, London, UK (15.11.2019 - 26.01.2020).