Selling Happiness: 1960s-80s Consumer Design in Korea

During Korea’s drive for economic modernization, commercial artists created goods and advertisements that were visually appealing and richly detailed. After the war, Korea transformed itself economically, yet rapid growth was accompanied by dramatic social changes and political concerns surrounding authoritarianism. By the late 1980s, Korea had embraced democracy and a newly prosperous society clamored for fresh goods manufactured for domestic consumption. With the 1988 Olympic games, Korean products and adverts grew more global in orientation.

Koreans look upon these items with some nostalgia, as they stand in sharp and, at times, amusing contrast with today’s products, which range from remarkable paper-thin flatscreens to Motortrend’s Car of the Year. Presented with the support of the Korea Craft and Design Foundation, this exhibition features early consumer products, advertisements, and social commentary from a transitional and controversial era when the seeds of Korean design saw fertile ground.

 


ABOUT

This exhibition is the first in the United States to focus on items associated with Korea’s export-led growth era. It features products and designs from the 1960s, 70s, and 80s, including Korea’s first domestically manufactured radio (the Goldstar A-501), Korea’s first black-and-white television (the VD-19), rice dispensers, cookers, and other kitchen items—even the popular “Italy towel,” employed in homes and bathhouses for a rigorous scrub.


10,000 Threads: The Collected Works of Quilt Master Kim Haeja

2011 02 22  10000 threads icon

February 22—March 31, 2011

Traditional Korean quilting, with its unique “nubi” line-stitching, is elevated to a high art under the masterful hands of award-winning artisan Haeja Kim. A designated holder of an Important Intangible Cultural Property award by the Korean government for her efforts at preserving Korea’s artistic heritage, Kim meticulously line-stitches layers of batting and fabric into fine garments and coverings. The tiny stitches are employed over each article in a deceptively simple pattern, with smaller stitching highly valued and the mark of a true expert.

Nubi textiles are thought to have originated among Buddhist monks, who valued its strength, simplicity, and insulation against Korea’s frigid winters. Lay people employed it for traditional dress and soldiers for defense against the cold and added physical protection. However, the hand-craft of nubi largely disappeared in modern times with the introduction of the sewing machine.

The items selected for this special showing are grouped in three parts:

Children’s Clothing—February 22–March 4
Adult Clothing—March 7–18
Children’s Ceremonial Clothing—March 21–31

ABOUT THE ARTIST

Master Kim has been breathing new life into the art ever since she surprised visitors to the Korea Annual Traditional Art Exhibition two decades ago with 3mm-5mm nubi stitchwork—a feat, not seen for a century, that won the Prime Minister’s Award. Today, she is much sought after as a teacher and master of the form. In her humble and elegant rural studio, surrounded by attentive student apprentices, she displays a unique dedication to craft, hand-processing her fabrics with natural dyes like indigo, safflower, and charcoal. Her work has been exhibited in Korea, Japan, China, and France. This exhibition at The Korea Society represents Kim’s first major U.S. showing.


 

Korean Architecture and Design in Convergent Flux

 

New York City’s first cross-disciplinary exhibition of Korean architecture, landscape design, and urban planning celebrates both globalizing and hybridized conditions in contemporary Korean society. In cooperation with Harvard Graduate School of Design.

Tuesday, December 7, 2010

5 PM | Members Preview

6 PM | Public Reception


 

Through Eastern Windows: Prints by Elizabeth Keith and Traditional Korean Hats

Elizabeth Keith, an intrepid traveler and visionary artist, first ventured to Asia almost a century ago, where she filled travel journals with lively, realistic sketches of Korea and other destinations. At the encouragement of a Japanese publisher, she translated her sketches and watercolors into etchings and woodblock prints. As author of Eastern Windows (1928) and Old Korea (1946), Keith sought to capture a “vanishing Korea,” and her work remains especially relevant today as a view into the Korea of her age.

Accompanying the woodblock prints, etchings, and watercolors on display is an array of traditional hats from the period. From horsehair to bamboo, the materials employed by the contemporaneous Korean artisans add context and texture to Keith’s work. The hats served to connote the wearer’s status, a theme also examined in Keith’s work.

The headpieces are on loan from the Chung Young Yang Embroidery Museum, Korean Art and Antiques, and the collection of Lea Sneider.

The Elizabeth Keith woodblock prints, etchings and watercolor are on loan from the collection of Young-Dahl Song. The attendant photos and postcards are from the collection of Norman Thorpe.

Thursday, October 14


 

Steel Helmets: U.S. Korean War Graphics & Korean War in Color

 

 

 

The Korea Society marks the 60th anniversary of the start of the Korean War with two exhibitions running June 25 through September 10: Steel Helmets: U.S. Korean War Graphics  and Korean War in Color. Both open six decades to the day of the outbreak of conflict.


Steel Helmets: U.S. Korean War Graphics  features twenty-eight framed graphics—eighteen Korean War film posters and ten comics—from the era. With images ranging from the stark to the romantic, the film posters project images of bravery, climatic extremes, love and loss. The comic-book images, sometimes brutally visceral, portray war in all its hell and heroics. Korean War in Color  features thirty images by famed correspondent and veteran John Rich, now in his 90s. Though most Americans recall the War through black-and-white press photos, the Kodachrome images here show the war in vivid, color detail—images of masses on the move, soldiers in the field, individuals in repose.

Accompanying the gallery exhibitions are a selection of films featured on the exhibition posters, a book signing by legendary photographer John Rich, and a lecture by author Brian Locke.

 

17 June 1PM All the Young Men (1960)                  
  3PM The Bridges at Toko-Ri (1954)
  5PM Pork Chop Hill
  6PM Press and Member Preview and Reception
     
25 June 1PM The Steel Helmet (1951)
  3PM Battle Hymn (1957)
  6PM Special Signing of the book, Korean War in Color, with author John Rich
     

war_in_color_books

22 July 6PM Hollywood, Race and The Korean War with Professor  Brian Locke

Steel Helmets: U.S. Korean War Graphics and Korean War in Color
June 25-September 10

 

 

 

 


 

Masks of Night: Faces from Traditional Korean Dance-Dramas

Koreans expressed their passion and fear through masked dance for hundreds of years.  The dance-drama dates back to shamanic ritual aimed at warding off malevolent spirits and grew into a form of popular entertainment that poked fun at the establishment.

March 4—April 25, 2010

Free and Open to the Public.

The Korea Society Gallery
950 Third Avenue @ 57th Street, 8th Floor 
(Building entrance on SW corner of Third Avenue and 57th Street)

Over the centuries, masked dance evolved from shamanic ritual to popular entertainment.  By the mid-eighteenth century, masked dance was firmly rooted as popular entertainment featuring dance, song and dialogue, with distinct regional varieties on offer.  Masked dance-dramas were staged outdoors and in the countryside as all-night, bonfire-lit events. The performances took place during planting and harvest, to promote fertility, and on the eve of the lunar new year and Buddha’s birthday to ensure good fortune. The dramas also were performed to welcome foreign envoys.

Dancers began by donning the masks—made from gourds, wood, bark, animal fur, cloth, and paper-mâché—and, like their shamanic predecessors, invoking the deities.  What followed was a riotous series of satirical sketches featuring characterizations of wayward monks, pompous playboys, love triangles and farcical noblemen. In this way, the dances functioned as a catharsis for the community, releasing through laughter the pent-up tensions created by the Chosŏn Dynasty’s (1392-1910) rigid moral and social strictures. The performance ended at dawn when the masks were tossed into the bonfire, symbolically expelling misfortune. As a result of this tradition, intact dance-drama masks from the period are exceedingly rare.

This exhibition features traditional dance-drama masks carved by four master artisans in the 1970s and 1980s. The masks here are of four regional types: Pongsan (Hwanghae province in the northwest of North Korea), Songp’a (Seoul), Yangju (north of Seoul), and Tongnae (south of Kyŏngsang province). The exhibition also features reproductions from an original set of Hahoe (Andong) exorcism masks from North Kyŏngsang province. Each regional style has been designated as an Important Intangible Cultural Property of Korea.  Unfortunately, the carving of traditional masks has become a dying skill.  Of the four artisans featured here, only one survives.

The masks in this exhibition are on loan from the collection of Dr. Theresa Ki-ja Kim.


mask1 mask2mask3 mask4mask7 

Talismans of Protection from Chosŏn Korea: Antique Locks, Latches and Key Charms

Shown for the first time in the United States, the collection features a rare collection of locks, latches and key charms, from the Chosŏn Dynasty (1392-1910), beautifully designed metal and wood objects executed in myriad shapes.

This exhibition features a rare collection of locks, latches and key charms, from the Chosŏn Dynasty (1392-1910). The items reveal the richly symbolic and exquisitely decorative dimensions of traditional Korean aesthetic and craft traditions. On loan from the Lock Museum in Seoul and shown for the first time in the United States, the collection includes beautifully designed metal and wood objects executed in myriad shapes: dragons, turtles, butterflies, fish, bats and swallows. Although these objects served functional purposes in everyday life, such as securing gates and protecting the contents of chests and other kinds of furniture, the beauty of their design underscores the primarily symbolic nature of the protection they afforded. Traditionally, Koreans believed that locks and latches fashioned in the shape of talismanic animals could invoke the power of these animals both to ensure the protection of their property and to bestow the blessings of wealth, health, fecundity and happiness. As an accompaniment to the locks and latches, key charms evolved from functional key holders into exquisitely decorated personal accessories passed from mothers to daughters as a symbol of the transfer of responsibility for ensuring the good management of household affairs.

On loan from the Lock Museum in Seoul, and shown for the first time in the US. The exhibition was organized by The Korea Society and is co-presented with Flushing Town Hall.


 

Missionary Photography in Korea: Encountering the West Through Christianity

 

 

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The arrival of the first Western missionaries in Korea in the late 19th century was a pivotal moment in the history of Christianity in Korea and the history of Korea as a whole. The missionaries established new religious identities and stoked early culture clashes. They also documented their mission and the society around them with early cameras. Missionary Photography in Korea: Encountering the West Through Christianity—the largest ever show of Korean missionary photographs in the U.S.—features rare images taken by missionaries in Korea between 1890 and 1940.

Taken by both Protestant and Catholic missionaries, the photographs—on display along with unique supplementary objects such as an original photo album and New Year’s calendars—offer a singular perspective on life in Korea during times of profound change. They illustrate the forging of contemporary institutions and values in the crucible of encounters with American Christian missionaries by Koreans.

The impact of early Western contact on Koreans is evident in the telltale signs of new cultural norms and new religious identities, and clues that these new ways were conflicting with long-held traditions. Less directly evident, but equally important, the images also allow the viewer to surmise how Koreans in turn had a formative impact on the missionaries, which led to intertwined personal histories that became a foundation for subsequent relations between Korea and the United States.

Drawn from four private collections and six academic archives, the images have been digitally restored and printed in a manner that retains, as far as possible, the archival quality of the images.

On May 5, 2009, Don Baker, Associate Professor in the Department of Asian Studies at the University of British Columbia, spoke about the history of Christianity and religion in Korea with Fred Carriere, The Korea Society’s Executive Vice President. The interview is in support of ‘Missionary Photography in Korea: Encountering the West through Christianity,’ an exhibition previously on display at The Korea Society Gallery.

Purchase the 184-page hardcover exhibition catalog.

2009_10_22_donald-clark

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Hardcover Exhibition Catalog, Missionary Photography in Korea


Exhibition Catalog $40.00

 

Missionary Photography in Korea 34 42 5 71 83

  1. Anti-TB campaign Christmas Seals (Seoul / 1930s, Norman Thorpe Collection)
  2. Western Style Clothing Shop in Korea (Chemulp’o Port/ca. 1910, Mission Photograph Collection, General Commission on Archives and History, The United Methodist Church, Madison, New Jersey)
  3. A Christian Wedding (Seoul/ca. 1920, Mission Photograph Collection, General Commission on Archives and History, The United Methodist Church, Madison, New Jersey)
  4. Catholic Foreign Mission Society of America (P’yŏngyang / 1924, Maryknoll Mission Archives)
  5. Soongsil Christian Academy’s Soccer Team Champions (P’yŏngyang / 1925, The Moffett Korea Collection, Special Collections of the Princeton Theological Seminary)
  6. Missionary Children: The Roberts Daughters (Sonch’ŏn, North Pyŏngan Province / ca. 1910, Donald Clark Collection)

North Korean Images at Utopia’s Edge

 

 

Exhibition

September 9 – December 12, 2008

Tuesday, September 9, 2008

The Korea Society presents, for the first time ever in the United States, the art of North Korean woodblock printing. In an exhibition spanning the last three decades of North Korean artistry, North Korean Images at Utopia’s Edge features 24 prints from the Nicholas Bonner Collection. These prints offer a fascinating picture of North Korean conceptions of daily life and work, family and Fatherland. Four subject areas delineate the contours of North Korea’s vision of an earthly paradise: harmonious families, plenteous landscapes, male laborers and women at work.
 
Following its engagement at The Korea Society, North Korean Images at Utopia’s Edge will be available for travel to colleges, universities, galleries, and non-profit institutions across America.

Related program:

Crossing the Line, directed by Daniel Gordon and narrated by Christian Slater
Tuesday, October 28, 2008
6:00 PM-6:30 PM • Registration and Reception
6:30 PM-8:30 PM • Screening and Q&A

Join The Korea Society for a screening of this unique documentary, followed by a conversation with co-producer Nicholas Bonner.

mt_gallery:nkwoodblock


 

The Kyopo Project

 

 
Exhibition

kyopoproject-gallery.jpgThrough Friday, August 15, 2008

Kyopo (교포) is a Korean term for people of Korean descent who reside permanently outside of the Korean Peninsula. The Kyopo Project is a collection of images created by photographer CYJO to highlight the diversity of the global kyopo community.

Emigration from Korea to other countries in Asia began as a trickle in the mid-nineteenth century, and accelerated during the first half of the twentieth century as the depredations of Japanese colonial rule increased. A second wave of emigrants began leaving for the Western Hemisphere, particularly the United States, in the mid-1960s. Kyopo hail from virtually every country in the world, but the vast majority reside in just three countries: China, the U.S. and Japan. Today, kyopo number approximately 6.5 million—one for every ten Koreans residing in the Korean Peninsula.

This exhibition features a series of 171 full-length portraits of kyopo from around the world. It shows each subject in their analogical plenitude, as Roland Barthes would say, and betrays/displays the intimate relation of the photographer to the portraits. The subjects are posed frontally, with their eyes returning the camera’s and the viewer’s gaze. Thus, each subject connects with and mirrors the others, while also reflecting their inherent differences. Ranging in age from teenagers to a septuagenarian, they are novelists, actors, teachers, comedians, athletes, executives and retirees. The striking diversity of the group—the subjects do not appear to have much in common other than their Korean ancestry—challenges the idea of a monolithic, authentic Korean identity and stimulates exploration of what it means to be Korean. The exhibition also poses the question of how kyopo negotiate the sometimes conflicting expectations and sensibilities arising from their intrinsic bicultural identity.

Asian Diasporas: New Conceptions, New Formations, a collection of essays co-edited by Rhacel Salazar Parreñas and Lok Siu, will be available for purchase at The Korea Society during the exhibition.

 

 

For inquiries about the exhibition in The Korea Society Gallery, contact Jinyoung Kim at (212) 759-7525, ext. 316 or email .

This exhibition was made possible in part by support from the Joh Foundation, Andy S. Ree, Asian/Pacific American Institute at New York University, Gie Kim, Alexander Brodsky, the Network of Korean-American Leaders (NetKAL), Bomsinae Kim, P.J. Kim and Hoon-jung Kim. Additional thanks to Timothy Archambault, Stephan Valter, Joseph and Linda Kang Chong, Kevin and Clara Kim, Younmee Shin, Min Yang, Charles No and all The Kyopo Project  participants. 

Read more about The Kyopo Project:

 

ChelseaNow
KoreAmJournal.com
Korea Daily May 22, 2008 (Coverage of exhibit in Korean)
PBS 13 Sunday Arts News June 28, 2008 (video)
Asians in America Magazine, June 2008

 

ImageExhibiting Korea 2007
A New, Monthly Series of Gallery Talk Programs at The Korea Society

The Kyopo Project

with

 
 

Cindy Hwang
Photographer

 

Thursday, November 15, 2007 at 6:30 PM

The Korea Society Auditorium

 

Millions of Koreans live outside of Korea; many of them have never even set foot in their home country. In Korean, they’re known as kyopo. And the Kyopo Project, organized by photographer Cindy Hwang, tells their story.

 
 

Begun in November of 2004, the Kyopo Project is a collection of over 100 portraits-both photographic and literary-of overseas Koreans from around the world. The stories and images of these kyopo, fully integrated into countries as far afield as the U.S., Canada, Denmark and Brazil, reveal an emerging, dynamic identity that defies received wisdom on kyopo in both Korea and around the world.

 
At an enlivening and inquisitive gallery talk, Cindy Hwang will display sections of the Kyopo Project, and discuss how today’s trans-national kyopo communities are reshaping their host countries and Korea.

Photo: Daniel Dae Kim, Photo © CYJO

About the Presenter

Cindy Hwang is a freelance photographer in New York City. Her photos often seek to capture the inherent beauty of her subjects through traditional and interpretive portraiture. Much of her work included in the Kyopo Project focuses on capturing the collective persona of a cultural diaspora and the inherent synergies produced by subjects during the documentation process. Hwang is a graduate of the University of Maryland and the Fashion Institute of Technology in New York. A fashion industry expert, her clients include Guess Watches, Equilend, Elle International, Angelo Filomeno and Jessica Corr.

 
 
 

Questions, registration? call Jinyoung Kim, senior program officer for arts, 212-7597-525 ext 316 or emailThis e-mail address is being protected from spam bots, you need JavaScript enabled to view it .

 
 
 

Exhibiting Korea
A New, Monthly Series of Gallery Talk Programs at The Korea Society

Exhibiting Korea, a new monthly series of presentations on the fine arts, film, fashion and architecture of the Korean Peninsula, is debuting this April. Series programs will address contemporary trends in cultural expression in Korea, and take audiences back to important movements they might have overlooked. These gallery talks, given by top experts, critics and artists, will put the colors and shapes of modern Korea on display-and explain the cultural and historical contexts behind them. Please join us.

Other Programs in this Series
(all held at The Korea Society Auditorium, 6:30 PM)

Date

Title

Speaker

April 5, 2007

How Did Korea Become a “Land of Apartments”?

Valérie Gelézeau

May 24, 2007

The Forgotten Legacy of the Minjung Art Movement in South Korea

Soyang Park

June 7, 2007

The Modern Boy and Modern Girl in Colonial Korea: 1910-45

Yeon-Shim Chung

July 12, 2007

Film Screening of A Petal and Q&A with actress Lee Young-Lan

Lee Young Lan

October 25, 2007

Dressed to Kill: Women’s Fashion and Body Politics in North Korea

Suk-Young Kim

November 15, 2007

The Kyopo Project

Cindy Hwang