Introduction

When seen from a broad perspective, modern Korean art has been a pendulum swinging back and forth between two divergent approaches. On one hand, there has been an effort to transcend traditional forms. Many artists, on the other hand, have been attempting to rediscover the spirit of traditional art.

The former trend is based on the premise that Korean art must break free from the inertia of the past. In other words, a dramatic leap in development is required to make the nation's art meaningful to the current generation. Several schools of abstractionism - informal, expressionistic, monochromic and minimal movements - that dominated the international art scene after World War II have encouraged this trend.

The latter trend is partially a reaction to the former movement. Some artists have been concerned that the attempt to transcend traditional forms would result in the creation of generic art that had no connection with Korean history and culture. There is also concern that the modern Korean art movement might result in second-rate Western style works. Thus, many artists have advocated technique and materials of traditional black ink and color paintings along with the traditional themes of man, nature, objects and the universe. These artists, who are generally younger, have sought a restructuring of traditional forms from a modern perspective.

Others claim that the abstractionism now seen in modern Korean art actually based deeply on Korea's traditional art and calligraphy. They assert that this abstractionist trend could be found in many facets of the Korean character, such as the love of nature, preference for natural media and the minimizing of artificiality. Furthermore, they maintain that these attitudes were expressed not only in paintings but in traditional Korean sculpture and handicrafts as well. This way, the movement to transcend tradition and the counter-movement to rediscover it have remained the two key ideological currents of the modern art in Korea while a third trend attempting to harmonize the two has made remarkable contributions to the nation's art world.



First Half of the 1900s

Born at the beginning of the 20th century, Korea's modern art developed through chaotic times marked by Japanese colonial rule (1910-45), the transition to self-rule and the Korean War (1950-1953). The era was characterized by ideological conflict and the irrational cold war struggle between the South and the North. Young artists were thus engulfed in an intense existential struggle.

During this time, the traditional value system collapsed, leading to a quest for new values. Likewise, artists searched for new meaning in their art as they attempted to change artistic attitudes and goals. Many of them turned to the international art world and the non-traditional, abstract forms of expression popular in European and American art after World War II.

Most artists of the period strongly felt that traditional art forms were unable to meet the demands of the new age. The general feeling that a change was needed presaged a new phase in modern Korean painting. At this time, Korean painting maintained the division of Oriental and Western styles although, by the 1990s, these two trends have become less distinct due to synthesis. The 50-year history of modern Korean painting is actually the process of the inter-relationship between these two trends with many artists attempting to assimilate them into a modern Korean style.

The first movement towards assimilation or integration occurred during the Korean War. As artists moved to the countryside, their works began to show an introspective attitude. The movement began with the so-called Oriental style painters, represented by Kim Ki-chang. Using such traditional materials as paper, brushes and ink, Kim painted in a unique, semi-abstract style. In his paintings, Kim employed strong outlines to draw human figures with divided planes as well as scenes from everyday life. Kim's innovative style is particularly noteworthy in light of the fact that he started as a traditional painter.

White Bull by Yi Jung-seop.	Bird by Kim Whan-ki (1913-1974).	Bird that swallowed the sun by Kim Ki-chang (Unbo, 1914-2001).

Kim also experimented with abstract representations of Chinese characters and the use of crumpled paper, which was then died and painted with dots. In this respect, he clearly wanted to transcend traditional Korean art forms and create a new painting style using Western techniques. His wife and fellow artist, Pak Nae-hyeon, also went beyond traditional painting styles to create her own artistic form. Later in America, she created an entirely new painting style using fabrics and woodblock etchings.

Kwon Yong-u explored diverse ways of using Korean paper, which had served as a medium for traditional paintings. Going beyond the use of paper as a mere painting medium, Kwon experimented with blotting, tearing and folding to accent the paper's color and other qualities. Kwon, still active, recently held an exhibit of his uniquely original art at the National Museum of Contemporary Art in Gwacheon.

Yun Hyeong-gun applied Western-style oil painting to traditional Korean method. Some of his works introduced the space technique of traditional painting and through the use of dark brown on a light-colored canvas, he created the blotting effect of black ink paintings. The above painters sought to break free from the strict adherence to tradition so as to create a new artistic form bridging the two worlds in art. It is interesting to note that their attempts to reach a new interpretation of traditional art were based on their training in both Western and Eastern painting styles.



1950s

As a government-run event, the annual National Exhibition played a leading role in the advancement of Korean art. Although this exhibition continued for more than 30 years after its 1949 inauguration, it had a productive and significant influence during only a few early years. In the division of Oriental paining, entries primarily consisted of Oriental black ink landscape paintings and color paintings of human figures. Its influence was therefore restricted by its willingness to accept only a limited amount of innovation and experimentation. Western painting was particularly problematic for this exhibition which had a rather formal, academic atmosphere. It tended to choose works that were realistic and reject abstract works.

In spite of its hidebound sensibilities, the National Exhibition wielded tremendous authority and young artists saw this state institution as an unbearable obstacle. These young upstarts sought to create an art in tune with the new age and by the late 50s, they were actively setting a new course. As enthusiasm for a new generation of art grew, opposition to the institutionalized art establishments also increased. Meanwhile, young Korean artists collectively embraced the abstract expressionism movement that arose in Europe and America around World War II. Abstract expressionism arose from the experience of the war, and Koreans, having first-hand experience of the tragedy of war, confidently took up this new movement. For one decade beginning with the late 1950s, young painters such as Pak Seo-bo and Ha Jong-hyeon zealously devoted themselves to this new style, known as the "informel" movement. The daily newspaper Chosun Ilbo also contributed to the modern Korean art movement by holding several exhibitions of free-form art.



1960-1970

From the late 1960s and 1968 in particular, modern Korean painting began to change directions. The "informal" movement, with its spirit of free expression, gradually became less influential. Artists, seeking a new outlook, became interested in geometrical abstraction and optical trends. In particular, the Origin Group of artists sought to re-establish the original value of form.

Other artist groups took a deep interest in subject matters that conveyed the innate unity between man and nature. The "Avant-Garde" group and "Space and Time" group were also formed during this time. Ironically, young members of these groups, in their attempts to push Korean art beyond the limits of tradition, had actually arrived at the traditional conceptualization of man and nature as an indivisible unity.

In the late 1970s, this trend expanded into the new direction of monochromatic paintings. This movement, which could perhaps be called Korean minimalism, was essentially a method of reducing modern art to Korean traditional forms. This minimalist, monochromatic movement also corresponded well with the sculptural trends of the time. With broad appeal, it became the representative form of Korean art, both in Korea and abroad.



Since the 1980s

Korean painting of the 1980s was largely a reaction to the modernism of the 1970s. During this period, many artists strongly felt that art should convey a message about current social issues. Perceiving their art as a form of social criticism, these artists sought to distinguish their works from other modern art genres. Young artists from the period sought a pertinent social role for their art. They seem to have generally followed the Western return to representational art.

From the mid-1980s to the end of the 90s, particularly as a result of the 1988 Seoul Olympics, there has been a strong international trend in Korean art. On one hand, there was a significant interest in the issues of modernism and post-modernism. At the same time, there was a dramatic increase in the number of foreign works exhibitions in Korea and Korean shows abroad. Korean artists were now confident that the foreign artistic community recognized their treatment of various artistic themes. Put simply, modern Korean art survived on the world stage. The mid-1970s enthusiasm for traditional art reappeared during the mid-1980s. By the 1990s, Koreans became increasingly confident of the uniqueness of Korean traditional culture. Korean artists began to realize that their traditions had certain features of worldwide appeal. Korean painters used refined techniques and forms of expression to create modern paintings based on traditional Korean culture. In this sense, Korean painting and Korean art in general have developed at an unprecedented pace over the past few decades.

A good example of these modern trends can be found in Yook Keun-byung's painting Saengjoneun yeoksada (Life is History). Commonly known as "The tomb with eyes," this painting was featured in the ninth (1992) Cassel Documentary. According to Yook, human beings contain the universe within themselves, and the essence of human beings is reflected in their eyes. In his videos on the history of man, he also featured man's eyes.

During the Venice Biennale in 1995, the Korean State Pavilion was built. In a work called Hokseong-ui banghwang, media artist, Jeon Soo-cheon mixed ancient Silla clay figures with modern garbage, earning wide acclaim. In 1995, the first International Gwangju Biennale was held in the southwestern Gwangju City. The event provided an opportunity for modern Korean artists to get together in one place with leading figures of the international art world. The late video artist Paik Nam-june's "Info Art" show was one of the more prominent exhibitions. Kang Ik-jung, a Korean representative at the Venice Biennale, provided a glimpse into one aspect of modern Korean art with his collection of small, three-inch-long paintings. In addition to these external developments, there have been a number of significant internal changes within the Korean art world. In particular, Korean artists have succeeded in capturing the spirit of traditional art while presenting it in modern terms so that it appeals to modern sensibilities. In the 1990s, numerous paintings appeared that employed controlled expression and ample use of space, which are the major characteristics of Korea's traditional art.

A video art work by Paik Nam-june (1932-2006)

Seo Se-ok employs black ink in fast and slow, light and heavy strokes with adept control over brush pressure. At the same time, his paintings demonstrate an exhilarating sense of freedom. "Geurim geuriji anneun hoehwa" (A painting without painting) is another important modern work by the young artist Kim Yong-gil now working in the United States.

Wall murals and mosaics have also become a popular art medium. Artists are experimenting with new possibilities in modern art by producing paintings on key public buildings, subway stations, schools, hospitals and galleries.