Miindo, Velazquez and Ants: Gallery Exhibition

 

Unrestrained by boundaries of medium or style, Lee LeeNam playfully reimagines classic works of art from different genres, time periods, and countries.  He adds movement and detail to Eastern and Western masterpieces, inviting viewers to discover the new in familiar images.

Lee majored in sculpture at Chosun University before discovering a passion for animation, a discipline that embraces both technology and time-honored technique. His digital creations also examine this interaction between the traditional and the hi-tech—a tension that is also characteristic of contemporary Korean society.

Lee’s art has been exhibited at the 2015 Venice Biennale, the Bolshoi Theater, New York’s Museum of Art and Design, the Moscow Biennale, the Kobe Biennale, and the Smithsonian. His works are in the permanent collections of the Fine Arts Museums of San Francisco, Yale University, The National Museum of Korea, and the Leeum, Samsung Museum of Art.

 

Thursday, November 12, 2015 | 6 PM

Gallery Opening

 

FREE with RSVP

 

The Korea Society Gallery

Gallery Open Daily, M-F, 10 AM-4:30 PM

For more information, please contact Jahee Yu

 

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This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council.

 


 

Into The Light: Gallery Exhibition

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In the 1990’s, Ha Dong Chul (1946-2006), a leading Korean abstract artist, sought to represent the essential nature of creation through an examination of “light.” The resulting series of paintings bear his trademark synthesis of Western Modernism and native Korean technique. Ha used the “plucked ink line,” the age-old tool of the Korean carpenter and stonemason, to mark his canvasses with diagonal stripes. His bold, primary colors come directly from the obangsaek, the spectrum of red, blue, yellow, white, and black used to represent the cardinal directions in Korean tradition.

A painter, print-maker, and educator, Ha Dong Chul received the 1974 Prize at the Korean National Art Exhibition and a 1977 Fulbright Scholarship to the Tyler School of Art at Temple University. He served as Chairman of the Korean Contemporary Print Association from 1990 to 1991 and Dean of the College of Fine Arts at Seoul National University from 2000 after teaching there for over two decades. His work is in the permanent collections of the National Museum of Contemporary Art in Korea, the Hokkaido Museum of Modern Art in Japan, the Cincinnati Museum of Art, and the British Museum.

Ha’s daughter, Ha Won, uses projections and reflections of light to compare subjective and objective reality. Her installation, “A Drop of Sky,” invites viewers to an “experience of space” and, through video, adds the element of time. Ms. Ha is a professor at Ulsan University, and her works are in the permanent collections of the Gwangju Museum of Art, the Honolulu Academy of Art, and the British Museum.

 This exhibition was presented in collaboration with the Dongwha Cultural Foundation.

 

 

Monday, July 13, 2015 | 6 PM

Gallery Opening

 

 

The Korea Society Gallery

Gallery Open Daily, M-F, 10 AM-5 PM

For more information, please contact Jahee Yu

 

NYCulture current inverted white logo

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council.

 


 

Private Tour of Dansaekhwa Korean Abstract Art @ Christie’s

From October 8 to 23, Christie’s showcased 33 paintings by eight Korean masters of modern abstract art, including those from the Dansaekhwa movement, at their Rockefeller Center West Galleries.

The Korea Society offered an exclusive private tour to our members, led by Dr. Young Yang Chung, the Chair of the Program Committee at The Korea Society, and Christie’s curator Yunah Jung. Twenty-six of the works were available for private sale, while the other seven were on loan.

This first comprehensive group exhibition dedicated to this type of art in New York featured artists Chung Chang Sup, Chung Sang-Hwa, Ha Chong-Hyun, Kim Whan-ki, Lee Ufan, Park Seo-Bo, Rhee Seundja, and Yun Hyong-Keun. To this group of painters, creating art is to form and conceive nature in their own minds, to return to nature and ultimately become one with it. Pursuing abstraction based on content and meaning, these Korean artists differ from Western formalist abstract artists, in that their work expresses the essence of Korean abstract art of forming nature.

 

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From Winds, 1986
Lee Ufan
Oil on canvas; 162.2 x 130 cm
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Ecriture No. 41-75, 1975
Park Seo-Bo
Oil and pencil on canvas; 130 x 162 cm.

Private Tour of Dansaekhwa Korean Abstract Art

@ Christie’s New York  
20 Rockefeller Plaza, New York, NY 10020

 


 

VOID: Gallery Exhibition

2015 05 05  gallery  icon2Choong Supim builds bridges between different worlds. He combines sculpture, painting, and found objects to assert a harmony among contrasting concepts, such as the regimentation of modern civilization and a chaotic universe, urban and rural life, and the West and Korea. To Lim, the emphasis on distinctions conceals a deeper truth, which he seeks to uncover through an “emptying of self” and a patching of the “in-betweens.”

The installation artwork in this exhibition, Luna, And Her Thousand Reflections, blends light, video, architecture, and elements from Korea’s traditional weaving culture, and employs moon imagery to reference an important debate on the nature of principle and material force that occupied Confucian scholars in 16th century Chosŏn Korea. It was the title piece of the National Museum of Modern and Contemporary Art Korea’s 2012 retrospective of Lim’s work, and was modified by the artist to fit our space.

Born in Jincheon, Chungcheongbuk-do, Lim attended Seoul National University before continuing his studies in New York City, where he now lives and works. Lim’s art is part of the permanent collections of the Metropolitan Museum of Art, the Smithsonian’s Hirshhorn Museum, and the Leeum Samsung Museum of Art in Korea.

This exhibition is presented in collaboration with the Dongwha Cultural Foundation.

 

May 5 – June 19, 2015

Tuesday, May 5, 2015 | 6 PM
Gallery Opening

 

 

The Korea Society Gallery

Gallery Open Daily, M-F, 10 AM-5 PM

For more information, please contact Jahee Yu

 

NYCulture current inverted white logo

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council.

 


 

The Paintings of Park Dae Sung

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After losing his parents and left hand to the Korean War, Park Dae Sung so loved art that by the age of ten he would rigorously and repeatedly copy ink-and-wash images and calligraphy from classic texts. This courageous young boy grew into an artist of visionary integrity, who, with deep gratitude to his artistic birthright, gracefully transcends imitation of his predecessors. Park Dae Sung achieves the traditional goal of the ink-and-wash painter—to reveal the fundamental core and character of a subject—through a skillful combination of classical modes of organization, calligraphic delineation, and influences from Korean, Asian, and Western masters.

The heartfelt reverence, thoughtful celebration, and exalted whimsy in Park Dae Sung’s paintings explore both his subjects and an artistic sensibility vast enough to encompass opposites such as gravity and buoyancy, scrupulous attention to detail and essential simplification, and sweet intimacy and awesome grandeur.  Like the Chosŏn-era scholar-artists before him, Park has traveled extensively, including to the Diamond Mountains in the North, and along the Silk Road through China, the source of his calligraphic subjects.  An heir to Korea’s “true-view” tradition, he lifts the real mountains, trees, houses, and vistas visited on his journeys into the artist’s land of benevolent, powerful beauty. His paintings of Kyŏngju capture the spirit of the capital of Korea’s Silla Dynasty and the heart of Korean Buddhism, without losing an ounce of the land’s earthy gravity.

This exhibition of Park Dae Sung’s work, presented in collaboration with the Dongwha Cultural Foundation, contains ink-and-wash paintings, calligraphy, and studies of pottery representative of this master of modern interpretation of traditional Korean ink painting.

 

January 22 -March 24, 2015

 

The Korea Society Gallery

Gallery Open Daily, M-F, 10 AM-5 PM

For more information, please contact Jahee Yu

 

NYCulture current inverted white logo

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council.

 


 

Adoption, Assimilation, Transformation: Korean Painting of the Koryo (918-1392) and Choson (1392-1910) Dynasties

Robert D. Mowry, Alan J. Dworsky Curator of Chinese Art Emeritus, Harvard Art Museums, and Senior Consultant on Chinese and Korean Art, Christie’s, New York, discusses the history and development of Korean ink paintings.

This illustrated slide lecture presents an introductory overview of the development of Korean painting during the Koryŏ (918-1392) and Chosŏn (1392-1910) dynasties, covering all four major categories of work:  Buddhist painting, literati painting (sometimes also called Sino-Korean painting), portrait painting, and folk painting. The Korean painting and ceramic traditions took inspiration from those of China, and Korean paintings and ceramics thus relate closely to those created in contemporaneous China. Even so, once they had fully mastered Chinese techniques, Korean artists typically transformed the subjects, formats, and styles adopted from China to meet their own aesthetic needs, thereby establishing distinctive Korean styles that reflect their Chinese origins but stand apart from them. That background will lay the foundation for understanding modern and contemporary Korean ink painting.

Korean royal hors d’oeuvres will be provided by master-chef Haelin Lee.

 

 

Thursday, March 19, 2015 | 6 PM

FREE with RSVP

 

 

 If you have any questions, please contact Jahee Yu  or (212) 759-7525

 

NYCulture current inverted white logo

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council.


 

 

The Long Breath: Postwar Korean Art, 1953-1979

Joan Kee, Associate Professor of History of Art at the University of Michigan and a leading authority on contemporary Asian art, presents an overview of important artists and developments in postwar Korean art, including the rise of performance art and the significance of ink painting.

Kee points out that no clear-cut division exists between “modern” and “contemporary” in Korean art, and that this absence is not so much an omission as an intentional acknowledgment of the competing senses of time and history with which Korean artists engaged from roughly 1953—the provisional end of the Korean War—to 1988, the year of the Seoul Olympics, Korea’s proverbial “coming-out” party. The force of these engagements was especially palpable in the 1960s and 70s. This talk presents an overview of some of the most important artists and developments, including the emergence of Tansaekhwa, the loose constellation of abstract paintings which ranks among the most important artistic movements in post-1945 Asia, as well as the rise of performance art and the significance of ink painting. Such explorations continue to resonate today, as “contemporary art” worldwide becomes increasingly, and paradoxically, more expansive and less inclusive than ever before.

 

 

 

Thursday, March 12, 2015 | 6 PM

 

 

 If you have any questions, please contact Jahee Yu  or (212) 759-7525

 

 


 

The Beauty of Korean Arts and Crafts

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Celebrate Korea’s handicrafts and artistic traditions with adoptive parents Debbi Kent and Joan Suwalsky in a talk about their new book, 100 Thimbles in a Box: The Spirit and Beauty of Korean Handicrafts . The authors will share their experiences in researching and writing this beautiful book of nearly 500 photographs illustrating 44 traditional arts, including ceramics, fiber arts, paper, inlay, metal, wood, and painting, which they wrote to help introduce the relatively little-known crafts of Korea to Western audiences.

A holiday Korean craft fair follows, featuring beautiful and unique handicrafts and art work from local Korean artists working in many of the traditional arts depicted in 100 Thimbles in a Box.Purchase the perfect holiday gift or simply admire how today’s artists are working in traditional art forms with innovative and contemporary results.

 

 

Tuesday, December 2, 2014  |  6:30 PM

 

Members: Free

Nonmembers: $10

 


Featured Artists:

 

Karen Ahn,  Maedeup Artist

Karen Ahn was born in Seoul, Korea. She studied Maedeup and other Korean folk art in college before coming to the U.S. to get her masters in graphic design at Pratt Institute. She worked in New York as a graphic designer and, for the past 20 years, has been creating Maedeup. She has taught the art of Maedeup in workshops at the Philadelphia Museum, Korean Cultural Service, Dong Hwa Korean Culture Center, Flushing Town Hall, Wave Hill, and Public Libraries throughout NYC. She has also exhibited her pieces at the Korean Cultural Service, Longwood Art Gallery, and Lee Young Hee Hanbok Museum.

 

 

 

Seongmin Ahn,  Painter

Seongmin Ahn graduated from Seoul National University and Maryland Institute College of Art. Her work takes Asian traditional painting as a starting point and transforms it into something experimental with her own interpretation, bridging tradition and modern, as well as East and West.

She received a grant from Pollock Krasner Foundation and a first prize from AHL Foundation. She has been reviewed in the Washington Post, the Philadelphia Inquirer, NY Arts magazine, Baltimore Sun and Plain Dealer. She has exhibited nationally and internationally, including at the Delaware Center for the Contemporary Arts, Queens College Art Center, and Hello Museum.

 

 

 

Sungho Choi,  Painter and Mixed Media Artist

Born in Seoul, Korea, Sung Ho Choi has lived and worked in New York City and Bergen County of New Jersey since 1981. He earned his master of Fine Art degree from Pratt Institute, New York City in 1984. Over 35 years, his works have been shown at numerous exhibitions in the North and Central America, Asia and Europe.  In 1993, Choi was commissioned by the Percent for Art program in NYC to create two permanent murals, My America and American Pie (completed 1996) for Intermediate School 5 in Elmhurst, New York City. The models of My America and American Pie have been traveling nationwide since 2011 through the exhibition titled, Infinite Mirror: Images of American Identity. In 2004, he completed another permanent public art project, Quiltroad, for the U.S. Federal Courthouse in Seattle, WA, commissioned by U.S. General Services Administration, Washington, DC. Awards that he has received include the Pollock-Krasner Foundation Grant in 1995, the Artists’ Project Grant from The National Endowment for the Arts, The Rockefeller Foundation, Andy Warhol Foundation for the Visual Arts, Inc. in 1996.

 

 

 

 

Eunjeon Kim, Ceramic Artist

Eunjeon Kim was born in Korea and received her BFA from the School of Arts at Hong-Ik University. She is currently a studio artist based in Virginia and has had numerous group and solo exhibitions around the country, including recent group exhibitions at Glenview Mansion Art Gallery in Rockville, Maryland and Workhouse Arts Center in Lorton, Virginia. Over the last decade, she has also had over 30 exhibitions in the Washington, D.C. area. She is currently the president of Han-Mee Artist Association and was previously vice president of the Korean American Artist Association and a director of the Hong-Ik Art Studio.

 

 

 

Jong S. Kim, Hanji Artist

Jong S. Kim has dedicated herself to teaching traditional Korean paper arts and crafts for decades. She is the director of Kim Jong Sook Hanji Arts and Craft Institute, the chairperson of the Korean Artist Society of America., and a  Hanji craft instructor at Joeun School, Korea-American Association of New Jersey.

Kim has received numerous awards and prizes for her work, including “Outstanding Artist Award” at the  National Crafts Exhibition in 2003 and the Seoul Traditional Art Crafts Competition Winner also in 2003.

 

 

 

 

Yanghee Kim-Lee, Jewelry Artist

Born in Deagu, Korea, Yanghee Kim-Lee received her BFA from the School of Arts at Hong-Ik University. She currently resides in Washington, D.C. and designs Korean-style brooches and other accessories using beads and metal. Her designs have been displayed in many group and solo exhibitions, primarily in the Washington, D.C. area. She is currently a director at the Hongik Art Studio.

 

 

 

Wonju Seo, Textile Mixed Media Artist

Wonju Seo is a a Korean-American textile artist. She was born in South Korea where she received her B.F.A in Fine Arts Painting from Hongik University and currently lives in New Jersey.  She has been working primarily with textiles, especially silk, for over 12 years. Her work has been deeply inspired by Korean antique bojagi. She received the Individual Artist Fellowship Award from the NJ State Council on the Arts in 2012, the Thomas Contemporary Quilt Recognition Award (Collector’s Choice) from the Visions Art Museum, San Diego, CA in 2012, and an Honorable Mention from the Smithtown Township Arts Council in 2011.  Her work, Inspiration of Blue, was reviewed in the New York Times article entitled Seeing Asian Cultures Through an Indigo Lens in 2014.  Her Wearable Pojagi is in the Newark Museum as part of its permanent collection.

 

 

 

Sungsook Setton,  Painter and Calligrapher

Sungsook Setton is a Korean-American artist and calligrapher. Besides her training in brush painting and calligraphy under Chinese and Korean masters, she has also studied Western art in Germany, the UK, and the United States, obtaining her BA in Studio Art at Stony Brook University and MFA in interdisciplinary art at Goddard College. Setton’s work has been widely exhibited in Canada, the UK, Taiwan, Korea, and the United States. She has received two dozen awards for her work, including Best of Show at the National Juried Exhibition by the Sumi-e Society of America. She serves on the faculty of Westchester Community College and the Art League of Long Island. Her work has been deeply influenced by artistic traditions in the East and West, drawing from art training in Europe, the US, and her native South Korea.

 

 

 

 

Seasonal Teas and Korean Sweets will be provided by Haelin Lee

Haelin Lee is an accomplished Korean chef who learned the art of traditional Korean cooking in the Blue House where she assisted with meal preparations for the President of South Korea and his guests as an assistant to Master Chef Jungyoung Sun. Princess Julia Lee, the daughter-in-law of Prince Yeong of the Empire (the last Korean Prince of the early 20th century), mentored Ms. Lee on traditional Korean food presentation and taste based on her experience in Naksunjae Palace. For the past five years, Ms. Lee’s private catering business, Art of Eating, has provided homemade traditional Korean food to a growing clientele.

 

 


 

The Beauty of Korean Arts and Crafts is generously sponsored by Asiana Airlines.

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The Sneider Legacy

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Daniel Sneider, Associate Director of Stanford’s Asia-Pacific Research Center, talks about his family’s long engagement with Korea.

Lea Sneider has a passion for folk art: the ceramics, woodwork, paintings, and sculpture used and enjoyed in everyday life. While accompanying her husband, Richard L. Sneider, to his appointment as U.S. Ambassador to Korea in 1974, Mrs. Sneider became an avid explorer of the art galleries and museums of Seoul, Daegu, and Busan. She sought out scholars of the rich tradition of Korean folk art, a field largely unexplored in the West at the time.  

After returning to the United States, Mrs. Sneider became an art dealer, curator, and influential mentor, as three of her former assistants went on to become East Asian art teachers in leading US universities: Princeton, Chicago and Brigham Young. Sneider, together with Robert Moes, former Curator of Asian Art at the Brooklyn Museum, produced the first-ever exhibition of Korean folk art in the West, Auspicious Spirits: Korean Folk Paintings and Related Objects, which opened in New York in 1983 and traveled across the country. “The work in Auspicious Spirits has the magic that has come to be expected from Asian art of the first quality,” wrote the New York Times.

This exhibition pays tribute to Lea Sneider, a great patron of Korean art and longtime board member of The Korea Society, with pieces from her personal collection.

 

The Sneider Legacy

Monday, November 17, 2014 | 6 PM

 

 

 


 

The Lea Sneider Collection

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Lea Sneider has a passion for folk art: the ceramics, woodwork, paintings, and sculpture used and enjoyed in everyday life. While accompanying her husband, Richard L. Sneider, to his appointment as U.S. Ambassador to Korea in 1974, Mrs. Sneider became an avid explorer of the art galleries and museums of Seoul, Daegu, and Busan. She sought out scholars of the rich tradition of Korean folk art, a field largely unexplored in the West at the time.  

After returning to the United States, Mrs. Sneider became an art dealer, curator, and influential mentor, as three of her former assistants went on to become East Asian art teachers in leading US universities: Princeton, Chicago and Brigham Young. Sneider, together with Robert Moes, former Curator of Asian Art at the Brooklyn Museum, produced the first-ever exhibition of Korean folk art in the West, Auspicious Spirits: Korean Folk Paintings and Related Objects, which opened in New York in 1983 and traveled across the country. “The work in Auspicious Spirits has the magic that has come to be expected from Asian art of the first quality,” wrote the New York Times.

This exhibition pays tribute to Lea Sneider, a great patron of Korean art and longtime board member of The Korea Society, with pieces from her personal collection.

 

October 14—November 21, 2014

Gallery Reception

Wednesday, October 15, 2014 | 5-7 PM

 

The Korea Society Gallery

 

NYCulture current inverted white logo

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council.