Chun Kyungja
Chun Kyungja (1924-2015), (born Chun Okja), was the daughter of Chun Sungwook, a gunseogi (clerk) of Goheung-gun, Jeollanam-do, and Park Un-a. She graduated the Gwangju Public Girl's high School and completed the Japanese art program at the Joshibi University of Art and Design. After independence, she was hired as a teacher of art at the Jeonnam Girls High School, her alma mater. Her private exhibition received positive reviews, and she was hired as an instructor of art at the Chosun University. Afterwards, she worked as a professor of the College of Fine arts at the Hongik University from 1954 to 1973, and she achieved renown as one of the foremost women artists in Korea, winning the Great Korean Art Association Exhibition President's Award in 1955, the National Academy of Arts, Republic of Korea Award in 1979, and the Eungwan Order of Cultural Merit in 1983. Her primary subject matter consisted of feminine subjects, to the extent that she was described as the artist of "flowers and women." Her work is celebrated as being entirely distinct from the contemporary Korean art styles of the period, and defined by its autobiographical themes and fantastical colorwork.
Gallery Hyundai
A gallery located at Samseong-ro, Jongno-gu, Seoul. The gallery opened in April 1970 in Gwanhun-dong, Jongno-gu, Seoul, under the joint management of Han Yong-gu and Park Myung-ja. Started as Hyundai Hwarang (Hyundai Gallery), it was renamed as Gallery Hyundai in 1987. When it first opened, the gallery contributed to the development of contemporary Korean art, featuring the work of contemporary artists instead of antique calligraphy and paintings, which were actively exhibited and traded in Insa-dong. In September 1973, the gallery published an art magazine titled Hwarang, with an editing staff consisting of Lee Heung-u, Lee Gu-yeol, Park Rhaikyoung, Heo Yeonghwan, and Oh Kwang-su. After 1988, the magazine was renamed Hyundai Misul and it continued to be published until 1992. The gallery regularly held exhibitions of major figures in Korean contemporary art, such as Park Sookeun, Lee Jungseop, To Sangbong, Nam Kwan, Yoon Jungsik, and Chun Kyungja. After it moved to a new building in Sagan-dong in 1975, the gallery expanded the base for Abstract art through exhibitions featuring Yun Hyongkeun, Kim Tschang-Yeul, Park Seobo, Chung Sanghwa, and Lee Ufan.
Sinmisul
The first Korean art magazine published in 1956 by printmaker and Western-style artist Lee Hangsung. The first issue featured articles written by Do Sang-bong and Kim Byungki, as respective representatives of the Daehan Art Association (Daehan misul hyeopoe) and the Korean Artists Association (Hanguk misulga hyeopoe). The two organizations shared a rivalry that centered on the National Art Exhibition (Gukjeon). Other writers included Choi Soonwoo, Kim Chungup, Park Kosuk, Ahn Byeongyong, Kim Youngjoo, and Kim Sou. Most of the writers for the first issue were also the founding members of the Korean Art Critics Association, which was established in November. This suggests that Sinmisul was influential in the development of a national culture of critique. Until the 12th issue in July 1962, however, the magazine featured no direct critiques, and the magazine was discontinued after the 13th issue in 1963.
Kkumim
Kkumim (Embellishments) was a bimonthly design magazine that began to be published in December 1976 (first volume issued in January 1977) by Moon Shin-kyu, the head of Total Design. Gum Nuri served as the editor-in-chief from the first volume through the seventeenth (except the fourth), and Ahn Sang-Soo joined the publication of the magazine as art director. Its editorial staff included Kang Chankyun, Kwak Daeung, Kim Gilhong, Oh Kwang-su, Jeon Donghun, and Chung Shihwa. Kkumim led the discourse on Korean design in the late 1970s, along with the architecture magazine Gonggan (Space) founded in 1966, Dijain pojang (Design packaging) founded in 1970, and Wolgan dijain (Design monthly) founded in 1976. Since its inception, Kkumim had been an all-encompassing design magazine, covering a wide range of issues related to design, crafts, and architecture. However, as it transformed into an architectural criticism magazine beginning with the twenty-eighth volume published in 1981, design-related articles were naturally scaled back. Kkumim actively implemented modular grids, an unconventional format at the time. In terms of content, it pushed to develop a public taste for letters in the public sphere and the establishment of an institutional system for it. It also contributed to shaping the discourse on Hangeul (Korean alphabet) typography in the late 1970s by featuring remarks and writings by figures representing Hangeul typography at the time.
Sajin Bipyung
Sajin Bipyung was a quarterly journal of photographic criticism and theory, published in 1998 by Im Hyangja. Starting with its inaugural fall issue, 13 issues were published until 2003 by the publishing company Timespace in Chungmuro, Seoul. Kim Seunggon was an editor-in-chief, and Lee Kyungmin served as a member of the editorial committee. In the late 1990s, Korean photography culture developed substantively, and photography came to be considered as art. As a result, there was a call for the establishment of a self-sustaining critical culture in the photography industry. Therefore, Sajin Bipyung can be evaluated as a professional magazine founded with the aim of creating a culture of criticism of Korean photography and actively introducing critical writing to establish a photography forum. It was composed of articles about special topics, exhibitions, introduction to artists’ portfolios, highlights discussing timely critical topics, interviews of artists and their works, ideas, and philosophy, exhibition reviews, and an information section. It also promoted and supported emerging critics by selecting the Photo Criticism Award every year and sought to promote photo criticism by publishing awarded works in the paper.