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The Union Exhibition Of Korean Young Artists
The Union Exhibition of Korean Young Artists, sometimes called The Korean Young Artists Association Exhibition“Project 1 - 1967 Performance Document.” Busan Biennale Organizing Committee. Accessed September 14, 2023. http://www.busanbiennale.org/BBOCen/index.php?pCode=MN2000153&pg=6&mode=view&idx=2123 . or Young Artists Coalition Exhibition,Korean Art Multilingual Terms, "Young Artists Coalition Exhibition." https://www.gokams.or.kr:442/visual-art/art-terms/glossary/art_view.asp?idx=660&page=1 was an art show put by three Korean collectives: Zero Group (제로그룹/무동인 ''Jerogeurup/Mudongin''), Origin (오리진 ''Orijin''), and New Exhibition Group (신전동인 ''Sinjeondongin).'' Held from December 11–16, 1967 at the Central Public Information Hall, artists protested the stagnancy of traditional art institutions and they debuted Korea’s first ever performance art.Lim, Donglak. ''AN/other avant-garde: China - japan - korea: Project 1 - busan biennale 2016: Busan Muse ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Performance Art
Performance art is an artwork or art exhibition created through actions executed by the artist or other participants. It may be witnessed live or through documentation, spontaneously developed or written, and is traditionally presented to a public in a fine art context in an interdisciplinary mode. Also known as ''artistic action'', it has been developed through the years as a genre of its own in which art is presented live. It had an important and fundamental role in 20th century avant-garde art. It involves four basic elements: time, space, body, and presence of the artist, and the relation between the creator and the public. The actions, generally developed in art galleries and museums, can take place in the street, any kind of setting or space and during any time period. Its goal is to generate a reaction, sometimes with the support of improvisation and a sense of aesthetics. The themes are commonly linked to life experiences of the artist themselves, or the need of denunci ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Donghak Peasant Revolution
The Donghak Peasant Revolution (), also known as the Donghak Peasant Movement (), Donghak Rebellion, Peasant Revolt of 1894, Gabo Peasant Revolution, and a variety of Donghak Peasant Revolution#Role played by Donghak, other names, was an armed rebellion in Korea led by peasants and followers of the Donghak religion, a pantheistic religion viewed by many rebels as a political ideology. In 1894, the magistrate of Jeongeup, Gobu, Jo Byeonggap, had created various oppressive laws and forced the peasants to build reservoirs and settle in unowned lands in order to get rich from taxes and fines. In March, angered peasants allied under Jeon Bongjun and Kim Gaenam, beginning the Gobu Revolt. However, the Gobu revolt was suppressed by Yi Yongtae, and Jeon Bongjun fled to Taein. In April, Jeon gathered an army in Paektu Mountain, Mount Baek and recaptured Gobu. The rebels then proceeded to defeat governmental forces in Battle of Hwangtojae and Battle of the Hwangryong River. Jeon then ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Space & Time Group
Space & Time Group (ST) was an art and reading group in Korea from 1969 to 1980. The group was led by Lee Kun-yong who focused on studying and applying international art theory to art in order to respond to Yusin Korea's tumultuous socio-political atmosphere in covert ways.Chung, Yeon Shim, Kim, Sunjung, Chung, Kimberly, and Wagner, Keith B. Korean Art from 1953 : Collision, Innovation, Interaction / Yeon Shim Chung, Sunjung Kim, Kimberly Chung, Keith B. Wagner. 2020. Though membership was always changing, the initial assembly of members included Kim Bok-young, Kim Munja, Yeo Yoon, Park Wonjun, Han Jeongmun, and Shin Sung Hy. They held 8 exhibitions, published journals, and held seminars. Of all the avant-garde groups in Korea at the time, ST was the most theoretically rigorous and enthusiastic to learn about and apply European, American, and Japanese art theory. The group is best known for their performances called “events” which put a focus on temporality, space, bodies, action ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Fourth Group
The Fourth Group ( ko, 제4집단, translit=Je Sa Jib-Dan) was a Korean avant-garde art collective that existed from June to August in 1970. Led by artist Kim Ku-lim, the group's membership was open to people hailing from diverse backgrounds. According to Kim Ku-lim, the reasoning behind the group's name was that, "By using the number 4, I attempted to break through conventions in the Korean art world as well as in Korean Society because this number carried negative nuances throughout our history." Although the artists could not express openly their anti-government sentiments under the totalitarian Park Chung Hee regime, they produced consciousness-raising art with the goal of realizing a radical utopian vision of society through nonviolent change, a philosophy they described as ''muche''. Under the guise of parodying imported art ideas of the Western avant-garde, The Fourth Group was able to stage their politically charged artwork within an oppressive society. The group's mo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chung Chan-seung
Chung Chan-seung ( Korean: 정찬승, Hanja: 鄭燦勝, 1942 – 1994), was a South Korean visual artist. He was also known as Chan S. Chung during his time in New York City. Early life and Education Chung was born in Seoul, Korea. He studied art in Hongik University’s Department of Western Painting. In 1964, while he was still a student, Chung and some of his classmates formed the artist collective Non Col (논꼴, also romanized as ''Nonggol''). Its members included Kang Kuk-jin (강국진, 1939–1992), Kim In-hwan (김인환, 1937–2011), Nam Young Hie (남영희, 1943–), Han Young Sup (한영섭, 1941–), Yang Cheolmo (양철모, 1943–), and Choi Taeshin (최태신, 1942–).Chung, Yeon Shim. “Critical Aspects of Kang Kukjin’s Early Avant-Garde Experiments: 1964–1974.” ''Journal of History of Modern Art'', Vol. 44 (2018): 285-311. doi: https://doi.org/10.17057/kahoma.2018..44.011 Career In Seoul, Korea: 1965–1980 Non Col and The New Exhibition Gro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jung Kang-ja
Jung Kang-ja (; 1942–2017) was a South Korean visual artist. She was involved in the Korean avant-garde art scene in its formative years of the 1960s and early 1970s, during the repressive regime of Park Chung Hee. In this time she staged and participated in performances that challenged the contemporaneous artistic and cultural norms in South Korea. Biography Jung Kang-ja was born in Daegu in 1942. Jung graduated from the College of Fine Arts at Hongik University. Park Seo-bo, a leader in the Art Informel movement and Dansaekhwa, was Jung's teacher at Hongik University. He encouraged her to explore various forms of art such as Pop Art, soft sculptures, conceptual art, and performance.Phil Lee, “A Pioneer of Korean Experimental Art of the 1960s and 1970s”, in ''Transnational Perspectives on Feminism and Art'', ''1960-1985'' (1st ed.), Kennedy, J., Mallory, T., & Szymanek, A. (Eds.), Routledge, 2021, pp. 154-168, . Jung took inspiration from foreign art movements by looking ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kim Kulim
Kim Kulim (, also frequently romanized as Kim Ku-lim; born 1936 in Sangju, North Gyeongsang province, Korea) is a South Korean artist. Primarily self-taught, Kim Kulim's artistic practice has been shaped by his involvement in Seoul's experimental art scene in the late 1960s and early 1970s, his exposure to Japan's art scene in the mid-1970s, and his decades in the United States (where he lived from 1984 to 2000). Never limiting himself to abiding by artistic conventions, Kim has repeatedly transgressed boundaries, in ways that the art critic Oh Kwang-su has described as extending an experimental spirit into his present-day artistic practice. In his early work, Kim quickly departed from the conventions of painting by incorporating industrial materials and performing destructive acts such as burning his artwork. Beginning in 1969, his pursuit of happenings led him to multiple "firsts" — Korea's first works of mail art and land art, as well as a harbinger of experimental film. Co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Donghak
Donghak (formerly spelled Tonghak; ) was an academic movement in Korean Neo-Confucianism founded in 1860 by Choe Je-u. The Donghak movement arose as a reaction to seohak (), and called for a return to the "Way of Heaven". While Donghak originated as a reform movement and revival of Confucian teachings, it gradually evolved into a religion known today as Cheondoism in Korea under the third patriarch. History Joseon, which patronized Neo-Confucianism as the state ideology, saw an increasing polarization between orthodox Confucian scholars and efforts by other Confucian scholars to revive social ethics and reform society. The increasing presence and pressure from the West created a greater sense of urgency among reformers, and thus Choe Je-u first penned his treatise, ''Comprehensive Book of Eastern Learning'', or ''Dongkyeong Daejeon'' (). This treatise marked the first use of the term "Eastern Learning" and called for a rejection of God (in the Christian sense), and other aspe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kang Kuk-jin
Kang Kuk-jin ( Korean: 강국진; 1939–1992) was an avant-garde Korean artist and founder of the Nonkkol Art Group. He made avant garde work primarily from the mid-60s to the early 70s and is known as the first happening and technology artist. Throughout his involvement in the Nonkkol Coterie, and other group activities ranging from The Union Exhibition of Korean Young Artists and New Exhibition (''Shinjeon Group''), he was a prolific experimentalist within a range of media and genres: happenings, object sculpture, multiples, neon, printmaking, and installations. During these group activities he was also involved in producing writing, lectures, and seminars about new forms of art. He participated in almost all of the first happenings in Korea between 1967 and 1968. After the mid-70s he focused on experimental printmaking and paintings, but always kept his focus on depicting the process of art making within his works. Kang was dedicated to capturing his own reality within his work a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Korean Avant-Garde Association
The Korean Avant-Garde Association ( ko, 한국아방가르드협회, translit=Hangugabanggareudeuhyeopoe), better known as the AG Group, was a post-war collective of artists and critics in South Korea that practiced and advocated for the role of avant-garde art in and, thus, the advancement of contemporary Korean art. Between its establishment in 1969 and dissolution in 1975, the group organized three major, thematic group exhibitions and the 1974 Seoul Biennale, while publishing its own journal, ''AG''. The association's members experimented across painting, sculpture, installation art, and performance art. The journal, driven by its members who were art critics, highlighted and discussed theories and trends in the visual arts on an international scale, which was one of the first attempts to do so in South Korea. Their organized and pioneering efforts have been noted as significant to the development of contemporary Korean art. Members included artists Choi Myoung Young (최 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dansaekhwa
Dansaekhwa (Korean: 단색화, also known as Tansaekhwa), often translated as "monochrome painting" from Korean, is a retroactive term grouping together disparate artworks that were exhibited in South Korea beginning in the mid 1970s. While the wide range of artists whose work critics and art historians consider to fall under this category are often exhibited together, they were never part of an official artistic movement nor produced a manifesto. Nonetheless, their artistic practices are seen to share "a commitment to thinking more intensively about the constituent elements of mark, line, frame, surface and space around which they understood the medium of painting." Their interests compose a diverse set of formal concerns that cannot be reduced to a preference for limited color palettes. Dansaekhwa ignited a series of debates on how to define and understand not only Dansaekhwa, but contemporary Korean art as a whole. It was at the center of discussions in Korea during the latter h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abstract Expressionism
Abstract expressionism is a post–World War II art movement in American painting, developed in New York City in the 1940s. It was the first specifically American movement to achieve international influence and put New York at the center of the Western art world, a role formerly filled by Art in Paris, Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates (critic), Robert Coates, it had been first used in Germany in 1919 in the magazine ''Der Sturm'', regarding German Expressionism. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky. Style Technically, an important predecessor is surrealism, with its emphasis on spontaneous, Surrealist automatism, automatic, or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
