1페이지 내용 : 260 1. Newly Emergent Artist Groups of 1957 and Collective Art Movements On April 9, 1957, the frst exhibition of the Modern Art Association was held at the Donghwa Gallery. Founded with the stated aim of addressing “the problem of contemporary painting” and positioning itself as an avant-garde force in that pursuit, the group presented 34 works by Han Mook, Lee Kyusang, Yoo Youngkuk, Hwang Yeomsoo, and Park Kosuk.1 The group’s inaugural exhibition marked the frst appearance of a group in the Korean art scene that could be described as “avant-garde” since the dissolution of the New Realism Group following its third exhibition in May 1953. According to art historian Chung Byungkwan, the Modern Art Association was “an avant-garde painting group of the late 1950s composed of mid-career painters in their 40s who had studied in Japan.” He explains that, “A er the 1950 plan for an avant-garde art association fell through due to the war, it came to fruition as the Modern Art Association in 1957 following the reclamation of Seoul and resumption of artistic activity in 1954.”2 The association’s inaugural exhibition led to several other exhibitions of newly emerged artist groups that advocated particular formal or conceptual orientations. These groups, formed around a s hared style or approach to painting, pursued “pure creative activity” as their central aim.3 These movements, to which art critic Chung Kyu referred as “collective art movements,”4 gained particular momentum within the sphere of Western-style painting, though similar tendencies could also be observed in the feld of Eastern-style painting.5 On May 1, 1957, the frst exhibition of the Hyundae Fine Artists Association opened at the United States Information Services USIS Gallery. This group defned its ideological stance as an antithesis to “the feudal elements that hinder the development of culture,” while also refecting on “how today’s formative practice should di er from the painterly spirit of the past.”6 Shortly therea er, on May 28, 1957, the frst exhibition of the Creative Art Association was staged at the Dong Hwa Gallery.7 Founded in January of the same year, the group aimed to form its collective identity not through declarative manifestos but through works produced in practice.8 On Newly Emergent Artist Groups of the Late 1950s and Their SignifcanceFocusing on the Modern Art Association Hong Jisuk, Assistant Professor, Dankook University 1 “The First Exhibition of the Modern Art Association,” The Chosun Ilbo, April 9, 1957. 2 Chung Byungkwan, “Modern Art Association,” in Encyclopedia of Korean Arts IIEncyclopedia of Korean Fine Art The National Academy of Arts, 1985 , 195. 3 “The National Art Exhibition and Trends in the Art World,” The Kyunghyang Shinmun, September 16, 1958. 4 Chung Kyu, “10 Years of Culture—ArtAn Independent, Creative Attitude Part II ,” The Kyunghyang Shinmun, August 14, 1958. 5 The first exhibition of the Paek Yang Painting Association, a group of mid-career Eastern-style painters, opened on December 15, 1957, at Whashin Gallery. Participating artists included Kim Kichang, Lee Yootae, Lee Namho, Jang Deok, Park Rehyun, Heo Geon, Kim Youngki, Kim Junghyun, Chun Kyungja, and Cho Joonghyun. In his review of the Paek Yang Painting Association’s Second Exhibition Korea Information Service Gallery, August 1958 , Chung Kyu remarked that he sensed “a new force,” identifying it as “a will to expression” that pointed to “a will to life.” Chung Kyu, “A Reduction of the Eastern-Style Painting SceneOn the Paek Yang Painting Association Exhibition,” The Chosun Ilbo, August 27, 1958. Meanwhile, Lee Kuyeul argued that the activities of the Paek Yang Painting Association, founded in 1957, reflected “a collective search for new spirit and direction within the traditional painting scene.” Yet because most of its members belonged to the “earlier generation lacking a distinctively modern consciousness,” he insisted, it could “by no means be considered an ideological group pioneering new trends.” In his view, the true “storm of modern creative will” in this field was the spirit of Mook Lim-Hoe, a gathering of younger artists that coalesced around Suh Seok in 1960. Lee Kuyeul, “The Introduction and Development of ‘Hot Abstraction,’ 1957–1965,” in Korean Abstract ArtThe Trajectory of 20 Years JoongAng Ilbo Company, 1979 , 38. 6 “Diverse ActivitiesDistribution and Ideologies of Contemporary Art Groups,” The Dong-A Ilbo, June 15, 1958; “Culture and Arts NewsA Collective Exhibition of the Hyundae Fine Artists Association,” The Kyunghyang Shinmun, May 4, 1957. According to the latter article, members of the Hyundae Fine Artists Association at the time included Kim Younghwan, Lee Cheol, Moon Woosik, Jo Donghun, Kim Jonghwi, Jo Yongmin, Kim Cheonggwan, Ha Indoo, Chang Seongsoun, Kim Choongsun, Ra Byeongzae, Kim Suhbohng, and Kim Tschang-Yeul. 7 “The First Exhibition of the Creative Art Association,” The Dong-A Ilbo, May 29, 1957. 8 “The Founding of the Creative Art Association,” The Dong-A Ilbo, January 25, 1957. According to this article, the founding o cials and members of the Creative Art Association were as followsRyu Kyungchai, Lee Joon, Lee Bongsang officials ; Park Changdorn, Park Hangsup, Ko Whahum, Choi Youngrim, Hwang Yooyup, Chang Reesuok members
2페이지 내용 : Newly Emergent Artist Groups of the Late 1950s and Their Signi cance 261 June 27, 1957, the Dong Hwa Gallery also hosted the frst exhibition of Sinjohyeongpa, a group composed of “painters, architects, and designers who desired new sensibilities and modes of creation.”9 The Modern Art Association and Hyundae Fine Artists Association, who had held their founding exhibitions in early 1957, presented their second exhibitions later in the year. The second exhibition of the Modern Art Association, with Jung Jeumsik and Moon Shin joining as new members, opened on November 16 at the Whashin Gallery,10 while the Hyundae Fine Artists Association held its second exhibition at the same venue on December 8.11 The artist groups that newly emerged in 1957 played a particularly noteworthy role in the Korean art scene from the late 1950s through the early 1960s. The Modern Art Association organized its third exhibition at Whashin Gallery in June 1958, its fourth at Dong Hwa Gallery in November of the same year, its f h at the Korea Information Service Gallery in December 1959, and its sixth at the National Library Gallery in July 1960, which marked the conclusion of the group’s exhibition activities. The Hyundae Fine Artists Association held its third exhibition at Whashin Gallery in May 1958, its fourth at Deoksugung Museum of Art in November 1958, its f h at the Korea Information Service Gallery in November 1959, and its sixth at Gyeongbokgung Palace Museum in December 1960. In October 1961, it co-organized a joint exhibition with the 1960 Fine Artists Association12 at Gyeongbokgung Palace Museum. In August 1962, both the Hyundae Fine Artists Association and the 1960 Fine Artists Association dissolved in a progressive reorganization, giving rise to a new collective that inaugurated its activities with the Actuel Inaugural Exhibition at the Korea Information Service Gallery.13 Meanwhile, the Creative Art Association mounted its second exhibition at Whashin Gallery in September 1958, its third at the Korea Information Service Gallery in June 1959, its fourth at the same venue in May 1960, and its f h also at the same venue in May 1961. The group continued to admit new members therea er, maintaining its presence into the subsequent decade.14 Sinjohyeongpa held its second exhibition at the Korea Information Service Gallery in June 1958 and its third in August 1959 at the same venue. In October 1960, it collaborated with the Hyundae Fine Artists Association, the 1960 Fine Artists Association, and others to establish the Contemporary Fine Artists Alliance, which convened the National Convention of the Contemporary Fine Artists Alliance at the Korea Information Service Gallery on October 23, 1960.15 However, no subsequent records of their activity can be identifed. The new groups that rose to prominence in the Korean art scene in 1957 were widely recognized, and their exhibitions became the subject of extensive debate. For example, Chung Kyu, in a December 1957 newspaper article, emphasized the “success of the group exhibitions,” noting that beginning that year, “as if by prior agreement, one group a er another—Modern Art Association, Creative Art Association, Sinjohyeongpa, Hyundae Fine Artists Association, and Paek Yang Painting Association—emerged, amounting to some fve or six groups within the span of a single year.” Chung saw this as a “deformed” phenomenon, observing that such groups might have formed as “bases for factional power” rather than purely in pursuit of progress. He stressed that a group, as a form of constraint, did 9 “The Art Exhibition of Sinjohyeongpa,” The Dong-A Ilbo, June 26, 1957. According to this article, the founding members of the group were Byeon Huicheon, Cho Byunghyun, Kim Kwanhyun, Lee Sangsoon, Son Gyepung, and Byon Yeongwon. 10 “Modern Art Exhibition,” The Chosun Ilbo, November 18, 1957. 11 “Hyundae Fine Artists Association Exhibition,” The Kyunghyang Shinmun, December 8, 1957. According to this article, the members participating in the second exhibition were Kim Tschang-Yeul, Kim Suhbohng, Kim Choongsun, Kim Younghwan, Kim Cheonggwan, Kim Jonghwi, Kim Tai, Chun Sangsoo, Jeong Junyong, Chung Keonmo, Jo Donghun, Chang Seongsoun, Lee Cheol, Lee Suheon, Lee Yangno, and Park Seo-bo. 12 “The Founding of the 1960 Fine Artists Association,” The Chosun Ilbo, July 30, 1960. According to this article, the group was founded on June 27, 1960, by Choi Gwando, Kim Bongtae, Yu Yeong-ryeol, Kim Gi-dong, Kim Eungchan, Youn Myeungro, Son Chanseong, Park Jaegon, Song Daehyeon, Kim Chonghak, Kim Dae-u, and Lee Juyeong. 13 “The Actuel ExhibitionWorks by the Art Scene’s Avant-Garde as a Third Declaration of Opposition to the National Art Exhibition,” The Kyunghyang Shinmun, August 21, 1962. 14 “Increase in Membership of the Creative Art Association,” The Kyunghyang Shinmun, February 14,1963.