Dansaekhwa

Dansaekhwa (Korean: 단색화), also known as "Tansaekhwa" refers to a loose grouping of paintings that emerged in Korean painting starting in the mid-1970s, when a group of artists began to push paint, soak canvas, drag pencils, rip paper, and otherwise manipulate the materials of painting. Tansaekhwa means ‘monochrome painting’ in Korean and was used by the critic Lee Yil in 1980 to refer to a group of largely non-figurative paintings painted in neutral hues. Promoted in Seoul, Tokyo, and Paris, Tansaekhwa grew to be the international face of contemporary Korean art and a cornerstone of contemporary Asian art.[1]

Figures associated with Tansaekhwa include: Cho Yong-ik, Chung Chang-Sup, Chung Sang-Hwa, Ha Chonghyun, Heu Hwang, Kim Guiline, Kwon Young-woo, Lee Dong Youb, Lee Ufan, Park Seobo, Suh Seung-Wong, and Yun Hyong-keun.

History

Lee Ufan had moved to Japan in 1956, where he established himself with the Mono-ha movement in the late 1960s. In the mid-1970s he introduced his Korean peers to the Tokyo art scene. “Five Korean Artists, Five Kinds of White,” a group show held at Tokyo Gallery in May 1975, is often credited as the first major presentation of the works that later became known as Tansaekhwa. The five featured artists were Kwon Young-woo, Lee Dong Youb, Heu Hwang, Suh Seung-won and Park Seobo.

Recent attention

In 2013, the first extended scholarly discussion of Tansaekhwa was published by the University of Minnesota Press. It was a finalist for the annual College Art Association Charles Rufus Morey Prize for the most distinguished book in the history of art, the first book on any aspect of modern and contemporary Asian art to receive this designation.[2][3] Starting in 2014, a spate of survey shows in Korea and the United States triggered renewed critical and commercial interest in Dansaekhwa.[4]

Group shows

Since the first of these surveys took place, there have been several solo exhibitions of individual artists:

Bibliography

References

  1. ↑ Kee, Joan (2013). Contemporary Korean Art: Tansaekhwa and the Urgency of Method (1 ed.). University of Minnesota Press. p. 384. ISBN 0966350391.
  2. ↑ Awards/College Art Association http://www.collegeart.org/awards/moreyfinalists. Retrieved 16 May 2016. Missing or empty |title= (help)
  3. ↑ Lee, Jenny Jungsil (2014). "Contemporary Korean Art: Tansaekhwa and the Urgency of Method". Journal of Korean Studies. 38: 157–160. Retrieved 16 May 2016.
  4. ↑ Degen, Natasha; Kim, Kibum (2015). "The Koreans at the Top of the Art World". NewYorker. Retrieved 2 December 2015.
  5. ↑ Pagel, David (2014). "'From All Sides' at *Blum & Poe sticks to basics to magnificent effect". LA Times. Retrieved 28 November 2015.
  6. ↑ Butler, Connie. "L.A.'s Best, 2014". Art in America. Retrieved 16 May 2016.
This article is issued from Wikipedia - version of the 10/23/2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.