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Construction Headquarters, and the Korean Art Alliance [Joseon misul dongmaeng], which was formed by painters who had withdrawn from the Korean Proletarian Fine Art Federation and the Korean Art Association [Joseon misul hyeophoe].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

March First Independence Movement Day Celebration Art Exhibition

The March First Independence Movement Day Celebration Art Exhibition was co-hosted by the Korean Federation of Cultural Organizations [Jeonguk munhwa danche chongyeonhapoe; KFCO] and the Great Korean Art Association [Daehan misul hyeophoe] to celebrate and commemorate the March First Independence Movement of 1919. It was held from March 1 to 7 in 1952 at the KFCO’s building in Gwangbok-dong, Busan. This week-long exhibition featured both Eastern and Western paintings, with no more than three pieces per artist. The participating artists in Eastern painting were Ko Huidong, Bae Ryeom, Suh Seok, Lee Sangbeom, Lee Yootae, Lee Ungno, Chang Woosoung, and Chang Unsang. Those in Western painting were Chang Ucchin, To Sangbong, Park Youngseun, Nam Kwan, Lee Joon, Kim Insoong, Moon Shin, Kim Byungki, Son Eungsung, Ko Hunchan, Kwon Okyon, Kim Whanki, Lim Wangyu, and Jeong Yonghwa. Lee Kyungsung commented that at this exhibition, the avant-garde, classics, realism, and surrealism co-existed. He particularly noted works by Kim Whanki. Although it failed to escape the imitation of Western masters, the exhibition was evaluated as showcasing the artistic intent for the new development of contemporary Korean art.

Second Half Group [Hubangihoe]

The Second Half Group [Hubangihoe] is a group of artists including Kim Whanki, Moon Shin, Lee Joon, and Han Mook who left Seoul for Busan during the Korean War in 1952. These young artists in their 30s gathered together in Busan to “pursue modernism.” In May 1952, they held an inaugural exhibition at Mihwadang Gallery in which Lee Joon, Moon Shin, Kwon Okyon and Kim Foon all participated in.

Korean Photo Service

The Korean Photo Service [Daehan sajin tongsinsa] was founded in June 1952 by Lim In-sik (1920–1998). It documented major government events and historical incidents, including the Korean War, and provided photographs to major news agencies abroad, including the Associated Press (AP). When the Korean War broke out, Lim led the photo unit under the Mental Strength Department of the Ministry of Defense. In May 1952, he left the army to establish Korean Photo Service, where he served as chief editor and editorial director. The office building of the Korean Photo Service was located on Namdaemun-ro 3-ga, Jung-gu, Seoul, and on the first floor was a photo shop and studio that sold photographic materials and equipment and provided developing and printing services. The Korean Photo Service was organized into several departments, with Park Jinsik serving as editor-in-chief, Moon Je-an as news director, and Jeong Doseon as chief of photography. The photography department included photographers such as Lim Sukje (the eldest brother of Lim In-sik) and Bang Samseong. The service captured images of important historical events in the liberated space, including photographs for the Republic of Korea Army, an English-language pictorial book published by the ROK Army Headquarters and distributed to UN member countries. Some of Lim's Korean War and 1950s photographs can be found at the Chungam Archive, run by his family. In 2013, Lim's family donated more than 1,000 pieces of his photographs and related materials to the Seoul Museum of History.

Meritorious Artist

Meritorious Artist [Gonghun Yesulga] is a term coined in 1952. It is used as a title for artists "who have realized Juche art and culture philosophy and have contributed to the development of socialist ethnic art through the implementation of the arts and culture policies of the Worker's Party.” The title of Artist of Merit was established by order of the Presidium of the Supreme People's Assembly of the Democratic People's Republic of Korea on 4 June 1952, and it is bestowed to artists working in the fields of painting, sculpture, songwriting, and crafts. In fine arts, the title is given to artists who have been praised by the party leader, or who have won special prizes or the gold medal at the State Art Exhibition. In 1956, Presidium of the Supreme People's Assembly decided to bestow the title to Moon Seok-o, a sculptor. Afterwards, numerous artists including Jeong Gwancheol and Seon U-dam received the title.

People's Artist

The title of Inmin Yesulga, or People's Artist was established in 27 July 1961 by order of the Presidium of the Supreme People's Assembly of the Democratic People's Republic of Korea. The title is bestowed upon artists working in the fields of painting, sculpture, songwriting, and crafts, who have armed themsevles with the ideology of the Worker's Party, realized Juche arts and culture ideological goals, and contributed to the development of socialist culture and arts. In North Korea, there are 11 ranks: nonranked, rank 8 to rank 1, Artist of Merit, and People's Artist. These ranks were established to strengthen the ideological beliefs of North Korean artists, and they are paid differently depending on rank. Of these, the title of People's Artist is the most prestigious, and they are given state awards. The first artist to receive the title is Jeong Gwancheol, who served as commissioner of the Korean Artist Federation (Joseon misulga dongmaeng). Afterwards, numerous artists including Chung Chong-you and Woo Chi-seon received the title.

Wolnam Artists Association

An artists’ group formed in Busan between June and August in 1952 by wolnam (North Korean defector) artists who fled from North Korea to the South during the Korean War. The membership comprised of artists based in Daegu, including Yoon Jungsik, Hwang Yooyup, Kim Hyungkoo, and Park Sunghwan; and artists who were based in Busan, including: Chung Kyu, Lee Jungseop, Chang Reesok, Park Kosuk, and Han Mook. Their works were featured in the wolnam artists exhibition in June, hosted at the USIS in Daegu and organized by the North Korean Branch of the Federation of Artistic & Cultural Organization of Korea. It was included in the North Korean refugee artists exhibition in November, held at the Busan International Club. The organization was unlike a Jonggunhwagadan (military artists programme) as the members were basically refugees who had left their homes behind to escape the war. Yet in his accounts, Lee Jungsop described himself as a jonggunhwaga (military artist), so the organization itself was different in character from his social status.

Han Hongtaik

Han Hongtaik (1916-1994) was a pioneer of graphic design during the field's emergence Korea. In 1937, he graduated from the Tokyo Institute of Design in Japan, and he studied Western art at the Teikoku Art School in 1939. In 1940, he joined the Yuhan Company, where he drew designs for various pharmaceutical products. After independence, he founded the Association of Korean Industrial Artists [Joseon saneop misulga hyeophoe] (renamed to the Korean Industrial Art Association in 1948) in 1946, and in 1956 he established the Han Hongtaik Design Institute, becoming a leading figure in the industrial art scene. He was professor of the crafts department of Hongik University and the applied arts department of Duksung Women's University (1975-1981). He primarily produced posters and graphic art designs using modern compositions depicting images of people, and he was active as both a professional graphic designer and educator.

Photo Artists Society of Korea

The Photo Artist Society of Korea is a group of photographers formed in December 1961 to promote the development of Korean photography culture, international exchanges, and the rights and interests of its members. Photographer Jeong Huiseop was appointed as the first chairman of the board, and major Korean photographers such as Park Pilho, Lee Haesun, Choi Kyebok, Lee Myeongdong, Lee Gyeongmo, Mun Seonho, Seo Sunsam, Jeong Doseon, Hyun Ilyeong, and Limb Eungsik served as executives. It is a non-profit corporation under the jurisdiction of the Ministry of Culture, Sports and Tourism, and currently has 9,400 amateur and professional photographers working as members. The headquarters are located in Yangcheon-gu, Seoul, and it has 168 branches in major cities and overseas countries. It continues to host the Korea Photography Festival every year and conducts various projects for members of the association, including photography courses, contests, photography competitions, book publishing, and photo culture awards.

Gijohoe

An art group formed in Busan in the fall of 1952. Its members included Park Kosuk, Son Eungsung, Lee Bongsang, Lee Jungseop, and Han Mook. The group held its inaugural exhibition at the Renaissance Dabang in Busan from the 22nd to the 28th of December. The group issued a "Declaration," the topic of which was a "consideration for the creation of an environment for survival" in the context of the Korean War. Lee Jungseop submitted three pieces including ‘Landscape of Wanwol-dong’ and Son Eungsung submitted ‘Chuje (秋題)’. Lee Bongsang and Han Mook submitted six works each, and Park Kosuk five.