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Kim Ku's Fight for Korean Independence and Unification Print E-mail

Kim Ku's Fight for Korean Independence and Unification-Gallery Talk

In a gallery talk to kick off an exhibition entitled Wishing for Independence: The Life of Kim Ku in Photographs, Jongsoo James Lee, a postdoctoral researcher at Harvard University’s Korea Institute and the translator of Kim Ku's autobiography, told audience members that a better appreciation of the life and legacy of this unique Korean patriot is vital to the future of the Korean Peninsula. In his talk, Lee surveyed Kim's dramatic life and discussed in detail his contributions to Korea's independence and national reunification. Born the year that the Treaty of Kanghwa-do was signed (1876), Kim experienced "stormy wanderings" and a "checkered fate" well before he went into exile in China in 1919 to sustain his career in the independence movement. Deprived of the opportunity for a systematic education by the circumstances of the time, he studied the Chinese classics at a sodang as a child, then later was ordained a Buddhist monk and ultimately even converted to Christianity after his return to secular life at the age of 27. After 1905, when he was in his 30s, he participated mainly in educational movements including the Patriotic Enlightenment movement and the New People's Association. As his fleeting encounters with Confucianism, Buddhism and Christianity would suggest, Lee said, Kim was comparatively lacking in a sense of self in relation to ideology. In this respect, he was relatively free of didactic obsession with ideology and tended to be wary of anyone driven exclusively by an ideological-theoretical vision. Moreover, while Kim possessed a true plebeian simplicity rarely to be found in the political leaders of his times, he was an activist with a traditional leaning who advocated the loyalty typical of Confucianism or the Righteous Army instead of modern values and a Western lifestyle. Kim's independence movement after he went into exile into China was focused on the firm maintenance and recognition of the Korean Provisional Government (KPG). When the KPG became little more than a empty name in the late 1920s, following the departure of the other independence movement leaders, Kim alone stayed behind in China and maintained the semblance of the KPG. Given his background, Lee noted, Kim revealed a deep conviction that the division of Korea was not solely the result of systemic confrontation with foreign powers but also reflected a problem of national identity. When he was able to return to Korea following the liberation in 1945, the chaotic political situation inevitably was viewed by Kim to be intrinsically linked to the right-left polarization endemic to the political process of the day. As a result, he viewed the establishment of a unified government as the paramount national task. If unification and independence are just two sides of the same coin, as Kim firmly believed, national unification signified and amounted to nothing less than a "second independence movement." This conviction led Kim to make the fateful decision to travel to Pyongyang to attend a "National Unity Conference" in April 1948. The delegates at this Conference declared themselves irrevocably opposed to the holding of separate elections and the establishment of two separate governments in the North and the South. In short order, however, separate governments were established in both halves of the Korean Peninsula. Just a little over a year later, Kim was assassinated under circumstances that remain murky to this day. "If Kim Ku were alive today," Lee concluded, "he would definitely give the advice that [Korea] needs honest dialog, and that can only happen when leaders meet face to face with an open heart."

 
Korean Art at The International Asian Art Fair: A Guided Tour Print E-mail
A special guided tour of the Korean art at the 10th Annual International Asian Art Fair was conducted for members of The Korea Society. The tour highlighted Korean artworks in the Lea Sneider Collection, the Kang Collection and Koo New York Collection. These exhibitors specialize in furniture, paintings, scrolls and screens, and ceramics and porcelains. An annual spring event in New York City since 1996, the Fair brings together leading dealers from the United States, Europe and East Asia and offers museums, private collectors and connoisseurs an exceptional opportunity to view and buy examples of the finest Asian art currently on the market.
 
Imagining and Documenting Asian American Women's Arts and Lives Print E-mail

Yunah Hong, a Korean American award-winning documentary filmmaker, explores the lives of Asian American female artists through the screening and discussion of her films. This year Hong concentrated on her work-in-progress, entitled Dangerous to Know: Anna May Wong. This documentary film examines the life and career of Anna May Wong (1905-1961), a premier Chinese American film star and stage actress who achieved worldwide fame in the 1920s and 1930s. It reveals how the all-American daughter of a Chinese laundryman struggled to eventually become an international star, a member of high society and an activist because, and in spite of, racism and sexism. The film also explores how Wong's cinematic images have shaped Americans' perceptions of Asian women in America over the past 80 years since Wong first appeared in film. The program venues and dates were as follows: California State University, Fullerton (March 24); Minnesota State University (March 31); Case Western Reserve University (April 5); University of Colorado at Boulder (October 26); and Texas A&M University (November 3).

March 24 - November 3, 2005

 
Storytelling and Korean Folktales Print E-mail

Professional storyteller Kathy Spagnoli took her art to numerous elementary and high schools throughout metro New York and Northern New Jersey in the spring of 2005, simultaneously entertaining students with her craft and teaching them about Korean history and culture. Spagnoli started each session with a personal introduction on how she became a storyteller, and how this profession led her to her special interest in Korean folktales. The program venues and dates were: Anne Scott School * Leonia, NJ (March 14); Martin Van Buren High School * Queens Village, NY (March 15); PS 72 * New York, NY (March 16); PS 178 * New York, NY (March 17); and Memorial Junior School * Whippany, NJ (March 18).

March 14 - 18, 2005

 
Songs of the Flying Dragons Print E-mail
This exhibition included four paintings of Korean dragons and a pair of dragon sculptures on loan from the Lea Sneider Collection. All the pieces mixed strict formalism with unexpected creativity. Two of the paintings depicted dragons as benevolent bringers of rain, symbolized by a dragon surrounded by clouds. A third painting depicted a dragon with carp swimming placidly beneath it, instead of jumping and striving to reach the heavens and become a dragon, as is usually the case. The fourth painting depicted a dragon hovering over two human figures. This was the "mystery" painting of the exhibition as it is very rare for human beings to be depicted in a dragon painting. Lastly, the exhibition included a pair of dragons that collectors believe once served as temple guardians. The Songs of the Flying Dragons exhibition debuted with a gallery talk by Heinz Insu Fenkl, director of the creative writing program and Interstitial Studies Institute at SUNY New Paltz.
 
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