1945–1999 Online Platform for Korean Modern and Contemporary Art

Kang Min-gi

1945–1953: Independence and “National Art” (Minjok Misul)

On August 15, 1945, the Korean Peninsula, liberated from thirty-five years of Japanese oppression, entered a new era. As activities of art and culture organizations began to newly rehabilitate distortions in national consciousness, the Korean Art Construction Headquarters [Joseon misul geonseol bonbu], an assembly of artists from all over the country, was formed, and an art exhibition commemorating Korea’s liberation was held. At this time, some artists, who were suspected of being pro-Japanese collaborators during the colonial period, were excluded. The political and social turmoil of the era caused ideological conflicts even among artists, and some artists with radical tendencies, dissatisfied with the activities of the Korean Art Construction Headquarters withdrew and established the Korean Proletarian Fine Art Federation [Joseon peurolletaria misul dongmaeng]. Thereafter, the art world revealed conflicting tendencies between the Korean Art Association [Joseon misul hyeophoe], which was the successor of the Korean Art Construction Headquarters, and the Korean Art Alliance [Joseon misul dongmaeng], which was formed by painters who had withdrawn from the Korean Proletarian Fine Art Federation and the Korean Art Association [Joseon misul hyeophoe]. In addition, activities of large-scale organizations continued, such as the Independent Artists Association [Dongnip misul hyeophoe], which was formed by absorbing the New Artists Association [Sin misulga hyeophoe] and expanding its members; the Korean Art and Culture Association [Joseon misul munhwa hyeophoe], which was formed with the goal of developing national art [minjok misul]; and the 1950 Art Association [Osimnyeon misul hyeophoe], which was formed with the purpose of uniting artists and the free development of art, among other organizations. As artist groups of various genres, such as calligraphy, photography, crafts, commercial and industrial art were formed, the art world after liberation overflowed with ambition, more than ever before. Moreover, art groups in Daegu, Gyeongju, Busan, Gwangju, Ganghwa, and Hwanghae Province were formed and held inaugural exhibitions, as they began to promote solidarity among local artists. An art college also opened for the first time and the National Art Exhibition [Daehanminguk misul jeollamhoe, also known as Gukjeon] was established, laying the foundation to leap into a new era. The art of this period, compared to art before liberation, did not reach the point of showing clear stylistic shifts, but can be evaluated as having recognized the task of the times, that is, the liquidation of colonial remnants and the construction of national art. The Construction of “National Art” The Dangu Art Academy (1945), established by of Kim Youngki and other mid-career ink painters, set out under the banner of overcoming Japanese painting style and the reinvention of Korean art and its traditions, but came to an end after holding two exhibitions. Amidst the zeal of liberation, the topic of the art world that would appear frequently was “national art” [minjok misul], and moreover, as the issue of colonial remnants came to the fore as the task of the times, it hardly appeared to find stability. National art meant “national identity, dignity, and aesthetic value” and had an enlightening character that solidified national unity. Oh Chiho described it as “a sensibility common to the entire nation that is bright and vivid, and that reflects the emotions of life, and enhances the will to live.” The issue of colonial remnants is still unresolved today, but it was certainly the case during this period. The activities of artists during the Japanese colonial period, especially during the Pacific War, and the artists’ pro-Japanese activities, which were highlighted through the Joseon Art Exhibition [Joseon misul jeollamhoe], were controversial. Their pro-Japanese activities were exposed to criticism, but no one acknowledged them, and there was virtually no standard from rational judgement that could thoroughly determine whether or not one was pro-Japanese. Nonetheless, for a number of artists whose names were brought up, despite their high status in the art world, the pro-Japanese controversy follows them in life and death. It is regrettable that color paintings became treated as a typical “Japanese style” and devalued as a colonial remnant that conflicts with national art. The dichotomous perception in which color paintings were classified as Japanese-style paintings, and ink wash paintings as national art, plunged the color painting field into stagnation until the early 1980s. Ink wash paintings dominated the art world for a long time under the logic and protection of national art. It cannot be denied that it appeared to be handled too simply, swept up by emotions and factionalism, without a rigid definition of Japanese aesthetics or Japanese painting style. The Establishment of Art Training Institutions The art college, which was unable to be come into being for various reasons during the Japanese colonial period, was established. In 1945, the Department of Art was established in Yerimwon (college of art and music) at Ewha Womans University, and in 1946, the Gyeongju Culture Association opened the two-year Gyeongju Arts Academy, which was elevated to the three-year Gyeongju Art School in 1949. Art colleges were also established at Seoul National University (1946), Chosun University (1946), and Hongik University (1949), and began to train artists. In 1947, the Pyongyang Art School was established and was elevated to the National Art School in 1949. Lee Gukjeon’s Gyeongseong Art Academy [Gyeongseong misul yeonguso], Lee Qoede’s Seongbuk Painting Academy [Seongbuk hoehwa yeonguso], Lee Insung’s National Painting Party Painting Research Institute [Gukhwahoe hoehwa yeonguso], Nam Kwan's Nam Kwan Art Research Institute [Nam Kwan misul yeonguso], Lee Ungno’s Goam Hwasuk (Lee Ungno Painting Academy), and The Seoul City Art Research Institute also opened their doors and began to recruit artists and students preparing for college entrance exams. The studios of Kim Eunho, Lee Sangbeom, Huh Baeklyun, which already had students, also produced research students. As art college education began, textbooks for theory courses, including Korean art history, became necessary. Introductory texts that make up the foundation of research in Korean art history today, such as Yoon Hee-soon’s Joseon misulsa yeongu (Joseon art history research), Kim Youngki’s Joseon misulsa (Korean art history), and Kim Yongjun’s Joseon misul daeyo (A compendium of Korean art) were published. They were the results of interest in and research into national art [minjok misul] and were written with the clear purpose of providing textbooks required for art colleges and for students in middle-school and higher to easily understand “the art of my country.” The Founding of the National Art Exhibition The government of the Republic of Korea was established on August 15, 1948. As the “cradle for a new cultural revival” and one of the cultural policies harmonizing tradition and modernity, the National Art Exhibition (Gukjeon) was founded in 1949 under the supervision of the Ministry of Education, holding its first exhibition. It was organized as a competition consisting of five categories: Eastern painting, Western painting, sculpture, crafts, and calligraphy, with the Presidential Award being the highest prize, followed by the Prime Minister Award, and the Minister of Education Award. Adjourned in 1950 due to the Korean War, the second exhibition opened in 1953, and became a stage where new, mid-career, and senior artists all participated together, transcending generations. Although there was controversy over the selection of judges and fairness of the judging, it solidified its position by arousing explosive interest with an average of 2,000 visitors per day. Kim Whanki, Yoo Youngkuk, and Lee Kyusang held the New Realism Group Art Exhibition (1948) and received attention for presenting a new consciousness of art form, based on modernism, that blended tradition and nationality. Art activities, which were repressed during Japanese colonialism, and especially during the Pacific War, picked up again with the formation of various groups and exhibitions after liberation, alongside many notable solo exhibitions. Although their works did not yet engage in active artistic experiments, Nam Kwan, Kim Whanki, Chung Chong-yuo, Pai Unsoung, Lee Insung, Chun Kyungja, Park Rehyun, Paek Youngsu, Park Youngseun, Lee Ungno, and Kim Sou held ambitious exhibitions in the atmosphere of a freer era. While exhibition spaces were still largely insufficient, it is said that many had to wait for reservations because they could not accommodate the increasing demand from artists, making visible the enthusiasm of artists of this era, who had lived through a tragic history. Artists During the Korean War The unstable political situation both domestically and abroad after liberation eventually led to the outbreak of the Korean War on June 25, 1950. Until the 1953 armistice, many artists defected either to North Korea or South Korea, or went missing, and the Korean Peninsula became a ruin, leaving indelible scars. However, exhibitions were held by war painters and war photographers who recorded the atrocities of the warfare, in addition to the exhibitions organized by various art groups as follows: the Great Korean Art Association, the New Realism Group, the Gijohoe, the Wolnam Artists (those defecting to South Korea from North Korea) Association, and the Second Half Group. Also, with the opening of the exhibition of the Tobyeokhoe, organized by local Busan-area artists, on the other, Busan as a place of refuge rather overflowed with feverish creation. It was especially encouraging that an invitational exhibition of contemporary artists was held at the temporary location of the National Museum of Korea in Gwangbok-dong, Busan. Even during the War, there was active interest in and discussion about abstract art, and the rise of new ideology of art, stemming from the banner of anti-academicism and awareness of international art trends, became the departure point for a new art movement.

Central Committee for the Construction of Korean Culture

A progressive cultural activist organization established on 18 August 1945, under the leadership of Yim Hwa, Lee Taejun, Kim Namchun, and Lee Wonjo. The concern of the Central Committee for the Construction of Korean Culture (Joseon munhwa geonseol jungang hyeopuihoe) was cultural liberation, cultural development, and national reunification after the divisive period of colonialism. The purpose of this association was to build an independent national culture. On 17 September 1945, dissatisfaction with the ambiguous class-based tendencies of the Central Committee for the Construction of Korean Culture (Joseon munhwa geonseol jungang hyeopuihoe) led Han Seol-a, Lee Giyeong, and Yun Gijeong to leave the group and organize the Korean Artist Proletarian Federation. On the 13th of December that same year, the Communist Party of Korea demanded that both the Central Committee for the Construction of Korean Culture (Joseon munhwa geonseol jungang hyeopuihoe) and the Korean Artist Proletarian Federation (Joseon peurolletaria yesul dongmaeng) merge, and the two organizations merged into the Federation of Korean Writers (Joseon munhakga dongmaeng) on 8 February 1946.

Korean Art Construction Headquarters

An artist organization established in August 18, 1945 and dissolved November 20, 1945. The founding of the organization was led by Kim Jukyung, Jeong Hyeonung, Gil Jinseop, and Yoon Hee-soon. The organization was one of the five divisions of the Central Committee for the Construction of Korean Culture [Joseon munhwa geonseol jungang hyeobuihoe] which included literature, art, music, film, and theater. The goal of the headquarters was the “new and unified building of Korean art,” and Ko Huidong was designated as the head commissioner. The Headquarters was the largest art organization after independence, comprising a total of 186 artists in six different divisions; Eastern Art, Western Art, Sculpture, Crafts, Children’s Art, and advertisement art. The first activities of the Korean Art Construction Headquarters [Joseon misul geonseol bonbu] after its establishment included the creation of banners, portraits, and national flags for the welcoming parade to celebrate the arrival of Allied Forces. From October 20th to 29th, 1945, the headquarters held the first Art Exhibition for the Celebration of Independence and the Welcoming of the Allied Forces. The exhibition featured 23 works of Eastern-style art, 72 works of Western-style art, and 55 works of sculpture and crafts produced by about 90 artists. After the dissolution of the Headquarters, right-wing members including Ko Huidong established the Korean Art Association [Joseon misul hyeophoe] in 1945.

Art Exhibition in Celebration of National Independence

An exhibition held in 1945 at the Seokjojeon in Deoksu Palace. It was held to celebrate Korea’s independence and welcome the advancing Allied forces. The event was organized by the Korean Art Construction Headquarters [Joseon misul geonseol bonbu], and the exhibition lasted from October 20 to 30. The official title of the exhibition was the Art Exhibition in Celebration of National Independence. 132 works of 97 artists were featured in the exhibition, and 20,000 visitors came to see the exhibition in ten days. Kim Eunho, Lee Sangbeom, and Kim Kichang were not allowed to take part in the exhibition due to their willing collaboration with Japanese authorities during the colonial period. Lee Insung was also criticized by right-wing artists for the design of his posters for the exhibition, which read, “all rights to the people.” Another point of controversy was the fact that most artists featured works that they produced during the Japanese colonial era instead of new works. The exhibition served as an example of the state of the national art community at the time of the liberation, which was in disarray due to the process of attempting to exorcise the influential ideological and structural remnants of Japanese colonialism.

Liberation period

A time of socio-political upheaval that lasted from independence in 1945 to the inauguration of the Republic of Korea government in August 1948. Numerous art groups formed during this period. The art community was united in its support for the creation of a new modern national art and to escape from the feudal and imperialist hegemony of the Japanese colonial era. Left-wing organizations argued for an ethnically specific art accompanied by a focus on the class struggle following the precedent of socialist realism. In contrast, right-wing organizations had no clearly defined political inclinations, and instead focused on inheriting and modernizing historical art traditions. The two sides were therefore in opposition. Furthermore, even the left-wing organizations failed to achieve any consensus on the establishment of an ethnic art due to various differences in political perspective. The Committee for the Preparation of Korean Independence was the first organization to be nationally active following independence, but internal disputes resulted in the dissolution of the committee after about 20 days. Organizations that were active afterwards included the Korean Art Construction Headquarters (Joseon misul geonseol bonbu), Korean Proletarian Art Federation (Joseon peurolletaria misul dongmaeng), Korean Plastic Arts Federation (Joseon johyeong yesul dongmaeng), Korean Artist Federation (Joseon misulga dongmaeng), and Korean Art Alliance (Joseon misul dongmaeng).

Pictorial Korea

Pictorial Korea is a photographic publication that the International Publicity League of Korea had issued to publicize a positive image of Korea to foreign countries from 1950 through 1970. The titles of each volume are not listed, but it has been said that about twelve volumes were published. Pictorial Korea contained photographs showing the then-current status of the Republic of Korea, its rural and urban landscapes, historical traditions and customs, modern factories and industries, arts and culture, and exhibitions, accompanied by their descriptions in English. The first volume of Pictorial Korea published in January 1950 was about 250 pages long and included more than 100 photographs, indicating that great emphasis was placed on international publicity via visual images. In Pictorial Korea published from 1953 through 1954, the photographers Lee Gyeongmo and Kim Hanyong were in charge of photographs and editing. In some cases, photos by domestic photographers were selected for inclusion through internal photography contests. The works by prominent Korean photographers, such as Limb Eungsik, Han Youngsoo, Lee Hyungrok, and Choi Minshik, were featured in Pictorial Korea.

Korean Art Association

An organization established in 1945 under the leadership of Ko Huidong after the Headquarters for the Korean Art Construction Headquarters (Joseon misul geonseol bonbu), the largest art organization of the time, disbanded. Criticizing the political activism of the Korean Art Construction Headquarters, the Korean Artists Association avowed political neutrality Ko Huidong was the president of the association, and famous artists of the time such as Lee Chongwoo, Kim Yongjun, Kim Jukyung, No Soohyeon, and Gilbert Pha Yim all participated in the association. The association claimed to be the successor of the Society of Painters and Calligraphers, which was active from the late 1910s to the 1930s. The association planned the establishment of art schools, the publication of books on art history, the holding of exhibitions, and the publication of art magazines. Contrary to its avowed political neutrality, however, Ko Huidong, who held right-wing beliefs, continued with his pro-government activism, and numerous members who opposed this left the association to form the Korean Art Alliance (Joseon misul dongmaeng) in 1946.

Korean Proletarian Fine Art Federation

An organization established in 1945 that was aligned with socialist ideology. The name of the federation was changed to Puromimaeng shortly after its establishment, before being again changed to the Korean Art Alliance (Joseon misul dongmaeng). The alliance promoted proletarian art and advertised its work on the streets and at factories, and it also criticized the beliefs and lack of principles of the Korean Art Construction Headquarters (Joseon misul geonseol bonbu), the largest art organization at the time. The alliance followed a clear political ideology and aesthetic, and following the dissolution of the Korean Art Construction Headquarters (Joseon misul geonseol bonbu), it absorbed many of the formers’ artists into its ranks. Its membership, however, lacked influence in the art community, and as a result the alliance was ineffectual and disbanded in 1948.

National Museum

The National Museum was established by the Korean government in 1945 after Independence. It consists of a general museum and a special museum. The National Museum of Korea as a general museum took over the Museum of the Japanese Government-General of Korea and opened at Gyeongbokgung Palace in 1945. It annexed the Gyeongju, Buyeo, Gongju, and Kaesong museums. It also annexed Song Seokha’s National Museum of Anthropology and accepted the collection of Deoksugung Museum of Art (former Yi Royal Family Museum) in 1969. The museum was called “National Museum” from 1945 to 1972, and the “National Museum, of Korea” after the reorganization in 1972. Meanwhile, local annex museums were upgraded to local national museums, such as Gyeongju National Museum and Buyeo National Museum. Since Independence, national museums have been constructed in many local cities, including Gyeongju, Buyeo, Gongju, Gwangju, Jinju, Cheongju, Jeonju, Daegu, Gimhae, Jeju, Chuncheon, Naju, and Iksan. These museums play pivotal roles in maintaining local histories and cultures. Special museums within the National Museum of Korea include the National Palace Museum (the history and culture of the Joseon Dynasty), the Maritime Museum (maritime culture), the Forest Museum, the Diplomatic Museum, the Police Museum, the Custom Museum, the Lighthouse Museum, the Postal Museum, and the Museum of Korean Traditional Music.