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Construction Headquarters, and the Korean Art Alliance [Joseon misul dongmaeng], which was formed by painters who had withdrawn from the Korean Proletarian Fine Art Federation and the Korean Art Association [Joseon misul hyeophoe].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

Ko Yuseop

Ko Yuseop (1905-1944, pen name Uhyeon, nom de plume Geubwoldang) is widely considered the first Korean art historian to receive a Western style tertiary education. He studied Aesthetics and Art History at the department of philosophy, Keijo Imperial University. He served as a director of the Kaesong City Museum from 1933 to 1944. He studied Korean pagodas and Goryeo celadons based on Positivism and Formalism. He was a foundational contributor to the creation of a modern academic Korean history of art that featured Buddhist art and Korean painting. He described the aesthetic consciousness of Korean art as “a great savory flavor” or “technique without technique.” His thoughts strongly influenced later generations of Korean artists. His major books include Goryeo Celadon, Studies on Korean Pagodas, The Collected Volume of Korean Art History, Studies on Korean Art History and Aesthetics, and Historical Sites in Songdo.

Pyongyang Art University

An art education institute established in 1947 in Pyongyang to educate professional artists with a foundation in the methods and practice of realism. The university was first established in September 10, 1947 under the name Pyongyang School of Fine Arts, and in September 16, 1949 it was elevated to the position of National University of Fine Arts. The university consisted of three departments: the painting department, sculpture department, and design department. The curriculum was divided into a three-year main program and two-year research program. The name of the institute was changed to the Pyongyang University of Fine Arts in 1952. At present, the school consists of the Joseon art department, which consists of a Joseon art major and calligraphy major; the painting department, which consists of a painting major and a mural major; sculpture department; crafts department; industrial arts department; and a publishing and art theory department. A specialized middle-school level education program, and a Juche Art Institute also exist, the latter of which consists of a two-year research division, equivalent to a Master’s program, and a three-year research division, equivalent to a doctoral program. Alumni have participated in the creation of North Korean memorials such as the Chollima Monument, Mansudae Grand Monument, and Bocheonbo Victory Monument. Celebrated alumni include; Chung Chang-mo, a Joseon artist; Shin Bong-hwa, a pioneer of boseokhwa (paintings using figments made of natural stone powders) and the head of the Mansudae Changjaksa Joseon Boseokhwa Changjakdan; Hwang Byeong-ho, painter of Geumnihwa; and Yun Ryong-suk, who is known as the “Unification Sculptor.”

National Guidance League Art Alliance

An organization formed by the National Guidance League in April 1949 to convert socialists. According to testimonies, the organization registered and educated artists with socialist tendencies such as Kim Man-hyeong, Jung Hyunwoong, Lee Qoede, Pai Unsoung and Chung Chong-yuo. These artists were made to paint anti-communist posters and street exhibitions were held. The organization was established as part of the anti-communist cultural policies of the government, and it was intended to convert socialist artists and regulate their ideological and creative activities.

College of Arts at Seoul National University

The College of Fine Arts of Seoul National University is located in Sillim-dong, Gwanak-gu, Seoul. According to the Decree on the Establishment of Seoul National University, the College of Art including the Department of Fine Arts and the Department of Music was founded in August 1946 at Seoul National University. The Department of Fine Arts consisted of sub-departments of Painting I, Painting II, Sculpture, and Design. It was organized by Chang Louis Pal and Lee Soonsuk. Chang Louis Pal had served as head of the Education and Management Bureau in the U.S. Army Military Government in Korea (USAMGIK) in Korea since December 1945. Lee Soonsuk assumed practical tasks as an advisor to the art section of the USAMGIK from 1946 when the Education and Management Bureau was changed to the Ministry of Culture and Education. In 1946, there were nine faculty members at the Department of Fine Arts in the College of Art: Chang Louis Pal, Kim Yongjun, Gil Jinseop, and Lee Jaehun as professors; Yun Seung-uk and Lee Soonsuk as associate professors; and Kim Whanki, Chang Woosoung, and Lee Byeonghyeon as assistant professors. However, after the incident of Korean students and professors’ protest against the U.S.’s attempt to merge several colleges and universities into a single university, Kim Yongjun, Gil Jinseop, and Kim Whanki resigned. In 1954, the College of Art was reorganized into the College of Fine Arts with three departments of painting, sculpture, and applied art. The Department of Aesthetics, which had temporarily belonged to the College of Fine Arts since 1948, was transferred to the College of Liberal Arts and Sciences in 1960. In 1963, according to the relocation plan of the Seoul National University main school building, the College of Fine Arts was moved to the former veterinary department building in Yeongeon-dong, Jongno-gu. In 1972, it was moved to the liberal arts department building in Hagye-dong, Seongbuk-gu, and then in 1976, to the current Gwanak campus. In 1981, the three departments of painting, sculpture, and applied art were reorganized into the five departments of Eastern painting, Western painting, sculpture, crafts, and industrial art. In 1989, the Department of Industrial Art was renamed the Department of Industrial Design, and in 1999, the Department of Crafts and the Department of Industrial Design were merged into the School of Design. Currently, the College of Fine Arts consists of the Department of Oriental Painting, Department of Painting, Department of Sculpture, Department of Craft, Department of Design, and Interdisciplinary Programs.

Lee Soonsuk

Lee Soonsuk (1905-1986, pen name Hara) was a pioneer of Korean craft design. He attended the design and craft department at the Tokyo School of Fine Arts in 1926 and graduated in 1931. He hosted the first solo design exhibition in Korea. He served on the council at the cultural division under the U.S Military Government in 1946 and taught applied arts at the fine arts college of Seoul National University. He also contributed to Korean craft design at the National Art Exhibition (Gukjeon). In 1971, he served as an executive advisor at the Korea Design and Packaging Center (KDPC) and was elected as a member of the National Academy of Arts, Republic of Korea. Lee Soonsuk’s graduation period work was influenced by the flat surface planes of art nouveau and Bauhaus style. He later attempted to maintain and reinterpret traditional Korean craft techniques through his stone craftwork that dealt with a folk painting motif or natural objects.

Department of Art at Hongik University

Established in 1949, the Department of Art at Hongik University consists of one art theory department and eleven practice-based departments, including painting, Oriental painting, printmaking, sculpture, woodworking and furniture design, metal art and design, ceramics and glass, textile art and fashion design, visual communication design, and industrial design. In 1955, it moved from Jongro-gu, Seoul to the current location in Sangsu-dong, Mapo-gu, Seoul. The history of the College of Fine Arts can be largely divided into the period of the Department of Fine Arts from 1949 through 1953, the period of the School of Fine Arts from 1954 through 1971, and the period of the College of Fine Arts from 1972 until now. In March 1953, the Department of Fine Arts produced the first six graduates, and in the following year the School of Fine Arts with three departments was established. In December 1971, it was upgraded to a college, which exists up to the present. Several exhibitions organized by its graduates are notable, including the Four Artists Exhibition held in 1956 as the first anti-National Art Exhibition (Daehanminguk misul jeollamhoe or Gukjeon) by the third and fourth classes of graduates and the Union Exhibition of Korean Young Artists held in 1967 by graduates from the 1960s as an effort to realize experimental art.

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.

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).

National Art Exhibition

A government-hosted exhibition held 30 times from 1949 to 1981, also known by the shorter name Gukjeon. Following national independence, the exhibition was the primary means for young and emergent Korean artists to achieve recognition. The influence of the exhibition declined as a result of the emergence of non-figurative art during the 1970s, the increased opportunities for artists to participate in overseas exhibitions, and the rise of private exhibitions and galleries.

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.