Korean Art Past and Present

The artistic creative
process that not only references the past, but also develops new mediums,
technology, and concepts, has always defined Korean art. The intense dialogue
between historic and contemporary art attests to Korea’s rich visual history. 

This 15th-century blue and white porcelain jar is decorated with a spirited dragon, a symbol of the royal family.

The dragon jar ("yong jun") also features a stylized cloud or “mushroom of longevity” pattern ("yeouidu-mun") that symbolizes long life.

Contemporary artist Kim Beom is best known for his transformations of simple materials into visually compelling images. This jar represents Kim’s vision of a dragon jar.

The scaly spinosaurus, stylized clouds, and border decorations are drawn in blue ballpoint pen, demonstrating the artist’s sensitivity to material and color.

Contemporary art continues
to challenge the boundaries of established icons by seeking new methods to
create strong reflections of contemporary society and culture. 

Gimhongsok’s satiric series "Public Blank" is a proposal for a new concept of public art that mocks the staid and empty function of most existing civic monuments made for the public—monuments that are, in reality, utilized by few.

From The Park of Atonement

"There are certain people in the world who long for rainstorms because none exist... Although the disappearance of rainstorms is a natural phenomenon, it tends to happen more quickly in places marked by severe and artificially wrought histories... Thus the places that have been affected by this mindset have such a plenitude of material objects and institutions so as to have negatively affected peoples’ emotional states, and it is at that moment that people begin to long for their difficult pasts... Even though the rainstorm created in the space is not real, it is possible that one might start to cry while standing along under the rain or depending on the water pressure, one might even start to believe that one’s sins can be washed away."

From Meeting Plaza:

"This Meeting Plaza is intended as a social space for those who have a fear of meeting other people or have a pessimistic view when it comes to meeting others. Since a small budget is required for this plaza, the project first requires receiving the consent of the local community. First, and old building that is on the verge of collapse is bought, following an agreement with local residents... The rubble from the building is to be left behind following the demolition, save such dangerous parts as exposed pipes, broken glass and sharp pieces of concrete, which are to be removed or crushed up... One can naturally strike up a conversation as others adjust their postures to regain their balance, by saying that the reason one has to strike this awkward posture is because of the way the plaza is shaped, thus using it as an excuse to start up a dialogue."

Cho Duck-Hyun re-creates vintage photographs in his large-scale charcoal and graphite drawings. This print is based upon a photograph of a Korean couple taken during the 1930s or 1940s, a period when foreign fashions were in vogue. The artist’s desire to connect a moment of Korea’s history to the present manifests in the bride’s long veil emerging from the pictorial plane.

Learn about the bride and groom and what they are wearing.

Learn about the artist's process and connections to Korean clothing.