1945–2009 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Construction Headquarters, and the Korean Art Alliance [Joseon misul dongmaeng], which was formed by painters who had withdrawn from the Korean Proletarian Fine Art Federation and the Korean Art Association [Joseon misul hyeophoe].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.

Korean Art and Culture Association

An artist organization formed in June 1947. The chairman was Lee Qoede, and its membership comprised ex-members of the left-wing Korean Artist Federation (Joseon misulga dongmaeng): Lee Kyusang, Kim Insoong, Hong Ilpyo, Eom Doman, Kim Jaeseon, Son Eungsung, Lim Wangyu, Shin Honghyu, Park Youngseun, Cho Byungduk, Lee Bongsang, Lee Haesung, Nam Kwan, Lim Gunhong, Lee Insung, Park Seong-gyu, and Han Hongtaik. The founding of the association caused controversy. Because of its centrist political stance, both the left-wing Korean Art Alliance (Joseon misul dongmaeng) and the right-wing Korean Art Association (Joseon misul hyeophoe) levied criticism. Shortly after its founding, the Korean Art and Culture Association held its first exhibition at the Dong Hwa Gallery in August. The second, third and fourth exhibitions were held at the Dong Hwa Gallery as well: the second in April 1948, the third in November that same year, and the fourth in June 1949.

Lee Insung

Lee Insung (1912-1950) was born in Daegu as the second son in a working class family. He graduated Suchang Elemantary School in 1928 and studied water painting at Seo Dongjin’s Daegu Art Studio. He joined a local art group, Hyangtohoe Association, from 1930 to 1934. He was first selected for the eighth Joseon Art Exhibition [Joseon misul jeollamhoe] when he was 17 years old, followed by consecutive special selections from the tenth to fifteenth exhibitions. He won a Changdeokgung Palace award in 1935 and became a Noteworthy Artist in 1937. He moved to Japan in 1931 to attend evening classes at the Taiheiyo Art School and rigorously focused on developing his art. After independence, he worked as an art teacher at Ewha Womans Middle School in 1945 and was a judge of Western painting at the first National Art Exhibition (Gukjeon) in 1949. He died in an accident during the Korean war in 1950. His work often featured vibrant color and free lines, and a creative structure. He pioneered a new style of art that featured the local color of Korea in original new ways.

Kim Yongjun

Kim Yongjun (1904-1967, pen name Geunwon) was born in Daegu and first showed his promise as an artist when he was selected for the Joseon Art Exhibition [Joseon misul jeollamhoe] as a high school student. He published art criticism, such as On Reconstruction of Art Circle in Korea and Criticism on Proletarian Art, which demonstrated his potential as an art theorist. He also organized diverse art events, such as Dongmihoe and Baekjman Western Painting Association [Baekmanyanghwahoe] in the 1930s. During his later years, he was more active as an art critic and contributed essays to many newspapers and magazines rather than focusing on creating his own artwork. He participated in creating a magazine, Munjang, in 1939 and published a variety of essays on Eastern painting. After Independence, he contributed to the foundation of the fine arts division at Seoul National University and served as a professor at the Oriental painting department teaching Art History and Theory. He resigned his appointment and moved to Dongkook University because of his involvement in protesting the nationalization of Gyeongseong Imperial University (later Seoul National University). He worked as a dean of the Fine Arts College of Seoul National University for a few months after the outbreak of the Korean War in 1950 but moved to North Korea with his family during the 1950 September 28th restoration of Seoul by US and South Korean forces. He produced several Eastern paintings and published a wide range of art history essays in North Korea. Prior to his migration to North Korea, he wrote a few books such as Geunwonsupil (Essays of Kim Yongjun) (1948) and Joseon misul daeyo (A compendium of Korean art) (1949).

Sajin munhwa

As Korea’s first photography magazine, Sajin munhwa (Photography Culture) was first published by the Korean Photography Culture Company [Joseon sajin munhwasa] in July 1948. It was published until its twelfth volume on June 20, 1950 just before the outbreak of the Korean War. Its publisher was Lee Gyuwan, who was a founding member of the Gyeongseong Amateur Camera Club [Gyeongseong amachueo kamera gurakbu] formed in 1937 and engaged in photographic activities of Baekyang Photographers Association [Baegyang sauhoe]. It was published over twenty-four to thirty-two pages and sold for 150 to 200 won. Sajin munhwa introduced the news of photography organizations, the news of domestic and international photography communities, and information about technology and equipment. It also contained a separate section that featured articles articulating authors’ social outlook or their views on photography and articles to aid the understanding of photography theories and technologies. Moreover, the magazine included a section for showcasing prize-winning works at photo contests and competitions. After its chief editor Lee Dongho was abducted to North Korea, Cho Myeongwon, who admired Lee, established the Korean Photography and Culture Publisher (Hanguk sajin munhwasa). He published a total of thirteen volumes of magazines under the same title Sajin munhwa, with the first one issued in May 1956. Sajin munhwa served as the sole photography magazine in the 1950s. Sajin munhwa is viewed to have contributed to the formation of Korean photography circles after Korea’s liberation from Japan by delivering news of the photography community at a time when printing and producing magazines was not easy.

Seoul City Cultural Prize

The Seoul City Cultural Prize was established in 1949 by the Board of Education of Seoul after forming the Seoul Culture Committee to select and award individuals who made significant contributions to the development of national art and culture. With the exception of the Korean War period (1951–1953), the prize has been given annually to those who have contributed to the cultural development of Seoul and the promotion of its art and culture. At the time of its establishment, there were five categories: literature, art, theater, music, and craft and architecture. From the second edition (1950), film, academics, and physical education were added, bringing the total to eight. In 1954, it was categorized into literature, art, drama, music, theater, and physical education, and then in 1955 into ten fields of humanities, natural sciences, literature, art, music, theater, film, crafts, physical education, and architecture. In 1961, press and publication were added, and in 1962 dance and broadcasting were added. In 1969, the categories were reduced from fourteen to five (academics, art, press, education, and architecture). Several other changes in these categories were made in the following years. In 1979, the art category was divided into literature, music, art, and entertainment. The winner of the first Seoul City Cultural Prize in the art category was Ko Huidong, and the winner in the craft category was Kim Jingap. The 1950 prize winner in the art category was Chang Louis Pal. The third-edition prize (1954) was awarded to Son Jaehyeong. In 1955, No Soohyeon won the prize in the art category, and Lee Soonsuk won in the craft category. The fifth prize (1956) winners were Kim Yongjin (art) and Kang Changwon (craft); the sixth prize (1957) winners, Ryu Kyungchai (art) and Lee Junrye (craft); the seventh prize (1958) winners, Kim Kyungseung (art) and Paik Taewon (craft); the eighth prize (1959) winners, Chang Woosoung (art) and Jang Gimyeong (craft); the ninth prize (1960) winners, Kim Chongyung (art) and Park Sungsam (craft); the tenth prize (1961) winners, Limb Eungsik (art) and Han Doyong (craft); the 11th prize (1962) winners, Kim Eunho (art) and Yoo Kangyul (craft); the 12th prize (1963) winners, Lee Madong (art) and Paik Taiho (craft); the 13th prize (1964) winners, Lee Byeonggyu (art) and Min Chulhong (craft); the 14th prize (1964) winners, Kim Insoong (art) and Kwon Soonhyung (craft); and the 15th prize (1965) winners, Lee Sangbeom (art) and Lee Shinja (craft). Later prize winners in the art category include Bae Ryeom and Lee Chongwoo, and those in the craft category include Hwang Jonggu and Kim Kyoman. In 1969 and 1970, no artists were recognized, and in 1971 Chun Kyungja was awarded the prize. Among other winners of the subsequent prizes are Byun Chongha, Kim Hyung-geun, Paik Moonki, Kang Taisung, Choi Dukhyu, Kim Kichang, Lee Joon, Kim Youngjung, Choi Jongtae, Oh Seungwoo, and Hwang Yooyup.

Nam Kwan

Nam Kwan (1911-1990) graduated from the Taiheiyo Art School in 1935 and performed research for two further years. He submitted his work to the Ministry of Education Fine Arts Exhibition (Munbuseong misul jeollamhoe), Donggwang Group Exhibition, and the Gukhwa Group Exhibition in Tokyo. In 1954, he attended the Académie de la Grande Chaumièrec in Paris and was invited to submit his work to the Avant-Garde Art Exhibition Salon de Mai and Fleuve Art Gallery. After returning to Korea in 1968, he became a professor at Hongik University. Before he went to Paris, he created portrait and landscape paintings, emphasizing lyrical colors and free expression. While Nam Kwan’s early works tended to focus on figuration, he switched to Oriental style of abstraction, influenced by Parisian Art Informel. In 1962, he experimented with abstract works symbolizing ancient letter inscriptions and after his return to Korea in 1968 he developed a style based on mask abstraction. He liked to utilize abstract letters, lines, and figures using blue as an organising palette. Nam Kwan became a leading figure in the abstract art movement in Korea after independence, and he is particularly well-known for reconfiguring ancient inscriptions as abstract idioms within his work.

Lim Sukje

Lim Sukje (1918–1994) was an important modern and contemporary Korean photographer. He joined the Korean Photography Alliance [Joseon sajin dongmaeng], which was founded on June 13 in 1947 in Jongno, Seoul. As a member of the first squad of the cultural operation unit of the Korea Federation of Cultural Organizations [Joseon munhwa danche chongyeonmaeng], a representative left-wing organization, Lim led activities to build a new culture in the newly liberated environment. Together with other members of the Korean Photography Alliance, he participated in a traveling exhibition of the cultural operation unit hosted by the Busan Sinmun newspaper company in June 1947 by submitting press photos of the U.S.–Soviet Joint Committee, documentary photos of the Namsan Mayday event, and photos of left-wing leaders. By doing so, he widely disseminated historical records of the time to the public. From August 7 to 14 in 1948, he held The First Solo Exhibition of Art Photography by Lim Sukje at Dong Hwa Gallery. According to the photographer Hyun Ilyeong, Lim Sukje Art Photography Solo Exhibition is significant as “the first solo photography exhibition held after Korea’s liberation from Japan by overcoming the extreme shortage of photographic materials.” Given that Lee Taeung, a chairman of the Korean Photography Alliance, wrote a recommendation and that other alliance members presented their works in support of him, Lim’s solo exhibition shows the last activity of the alliance members before they were removed from the organization’s roster. The photos displayed in Lim’s solo exhibition featured men engaging in manual labor, including a laborer carrying imported food at the Incheon wharf, another in a workplace, and a tenant farmer. Accordingly, his photography was considered to break away from traditional painterly and romantic styles, pursuing instead stark and hard-edged realism. In 1952, Lim served as president of the Korean Photographic Art Research Association [Daehan sajin yesul yeonguhoe]. He continued to develop his creative oeuvre by holding nine solo exhibitions until 1962.

Korean Calligraphy and Painting Association of Peers

An association formed by calligraphers and artists in September 1945, with the calligrapher Son Jaehyeong as chairman. The stated goal of the association was “to become one of the pillars on which to build a nation upon, and to contribute to national culture through social activism.” The association held the first Korean Painters and Calligraphers Exhibition at the Dong Hwa Gallery in April 1946. The second Joseon Painters and Calligraphers Exhibition was held at the Deoksugung Museum of Art in November 1948. Its membership comprised 60 artists including Oh Sechang, Kim Yongjin, An Jongwon, Kim Eunho, No Soohyeon, Lee Ungno, and Lee Sangbeom. Son Jaehyeong, the chairman, was a student of Kim Donhee, a celebrated calligrapher and four-time president of the Calligraphy and Painting Association [Seohwa hyeophoe]; and he served as a panel judge for the Joseon Art Exhibition during the Japanese colonial rule of Korea and once again for the Korean Art Exhibition after independence. He was a leading figure in the field of Korean calligraphy in the 20th century.

Eastern Painting Research Institute

The Eastern Painting Research Institute [Dongyanghwa yeonguso] is an Eastern painting education institution located at 23, 2-ga Hoehyeon-dong in Seoul. It was founded in December 1948 by mid-career Eastern-style painters, Kim Kichang, Park Rehyun, Lee Geonyeong, Lee Seokho, Lee Palchan, Chung Chong-yuo, and Cho Joonghyun to contribute to the establishment of national art. Both male and female students were recruited, and the first day of classes was December 5, 1948. Before the establishment of the institute, the seven founding artists held the exhibition Seven Eastern Painters from September 25 through October 1 in the same year at Dong Hwa Gallery. This exhibition led to the opening of the institute. Their activities reflect the time when the growth of aspiring painters and art enthusiasts resulted in the proliferation of private training centers.

New Realism Group

The New Realism Group [Sinsasilpa] was a group of abstract artists, such as Kim Whanki, Yoo Youngkuk, and Lee Kyusang, who, through their work sought to represent the conceptualization of a pure Plasticism. One of the most influential groups in Korean modern art, the name “New Realism Group” was created by Kim Whanki. This originated from his foundational idea that the artists of the group should pursue new types of realistic painting. Since they considered that all forms, including abstract ones, ultimately belong to experiential reality, the ambition of the group was to contribute to the perception of a “new formation of reality”. Their inaugural exhibition was held at Hwashin Department Store's gallery from December 7th to 14th, 1948. Chang Ucchin then joined the group for the second exhibition, followed by Lee Jungseop and Paek Youngsu for the third. They disbanded the group after the third exhibition, which was staged at the temporarily relocated National Museum in Busan from May 26th to June 4th, 1953. The works of the New Realism Group navigated a path between figuration and non-figuration through the deployment of abstract expressionist idioms, while also making use of visual elements taken from nature, everyday life, and real-life materials. The New Realism Group were pioneers of a new style of Korean abstract art, one which they realized as an attempt to create a new artistic perspective that could exist outside the pervasive right-left ideological struggle that defined the politically, economically, socially, and culturally unstable Cold War period of Korea. A retrospective exhibition for the group was held at the Won Gallery from September 23rd to 30th, 1978, and a sixtieth commemorative exhibition was held at the Whanki Museum from November 9th in 2007 to January 13th, 2008.