Logos & Pathos Exhibition, Leaflet, 1986. Image provided by ARKO Arts Archive
Logos & Pathos
* Source: Multilingual Glossary of Korean Art. Korea Arts Management Service
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College of Arts at Seoul National University
The College of Fine Arts of Seoul National University is located in Sillim-dong, Gwanak-gu, Seoul. According to the Decree on the Establishment of Seoul National University, the College of Art including the Department of Fine Arts and the Department of Music was founded in August 1946 at Seoul National University. The Department of Fine Arts consisted of sub-departments of Painting I, Painting II, Sculpture, and Design. It was organized by Chang Louis Pal and Lee Soonsuk. Chang Louis Pal had served as head of the Education and Management Bureau in the U.S. Army Military Government in Korea (USAMGIK) in Korea since December 1945. Lee Soonsuk assumed practical tasks as an advisor to the art section of the USAMGIK from 1946 when the Education and Management Bureau was changed to the Ministry of Culture and Education. In 1946, there were nine faculty members at the Department of Fine Arts in the College of Art: Chang Louis Pal, Kim Yongjun, Gil Jinseop, and Lee Jaehun as professors; Yun Seung-uk and Lee Soonsuk as associate professors; and Kim Whanki, Chang Woosoung, and Lee Byeonghyeon as assistant professors. However, after the incident of Korean students and professors’ protest against the U.S.’s attempt to merge several colleges and universities into a single university, Kim Yongjun, Gil Jinseop, and Kim Whanki resigned. In 1954, the College of Art was reorganized into the College of Fine Arts with three departments of painting, sculpture, and applied art. The Department of Aesthetics, which had temporarily belonged to the College of Fine Arts since 1948, was transferred to the College of Liberal Arts and Sciences in 1960. In 1963, according to the relocation plan of the Seoul National University main school building, the College of Fine Arts was moved to the former veterinary department building in Yeongeon-dong, Jongno-gu. In 1972, it was moved to the liberal arts department building in Hagye-dong, Seongbuk-gu, and then in 1976, to the current Gwanak campus. In 1981, the three departments of painting, sculpture, and applied art were reorganized into the five departments of Eastern painting, Western painting, sculpture, crafts, and industrial art. In 1989, the Department of Industrial Art was renamed the Department of Industrial Design, and in 1999, the Department of Crafts and the Department of Industrial Design were merged into the School of Design. Currently, the College of Fine Arts consists of the Department of Oriental Painting, Department of Painting, Department of Sculpture, Department of Craft, Department of Design, and Interdisciplinary Programs.
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Kwanhoon Gallery
A gallery which opened in 1979 in Insa-dong. Its name was originally the Kwanhoon Art Museum, but this was changed to Kwanhoon Gallery in the early 1990s following the Museum and Art Gallery Support Act. In the 1980s, the gallery held exhibitions featuring prominent art organizations such as Ecole de Séoul, Logos & Pathos, and Meta-Vox, as well as the Museum exhibition. The gallery became a foundational platform for experimental and avant-garde contemporary art in Korea.
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Small group movement
A term describing the tendency of many artists in the 1980s to work in small groups, in which the application of many diverse methods, attitudes and values in mediums such as painting, sculpture and installation was common. These groups associated with neither the established modernist abstract art community or the Minjung Art community, which formed the primary two ideologically and formally opposed movements of the 1980s. Instead, artists within these small groups focused on individual approaches to production based on situational contingency, and deliberately declined to develop into larger organizations, unlike the artists of previous generations. The formalization, commercialization, and globalization of the art community ultimately resulted in the disbanding of most of the small groups during the 1990s. However, the works produced within these groups were indicative of the Korean post-modernist movement that was to come.
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Postmodernism
Postmodernism emerged to prominence in the 1980s as a broad intellectual critique of modernism in its role as the dominant philosophical zeitgeist of the 20th century. Postmodernist critique has a general tendency to challenge the separation between high and low culture, strict distinctions between artistic genres, as well as notions of originality, newness, and authorship. The term postmodernist art can be used to cover a wide range of creative approaches, none of which are limited to medium-specificity, however, appropriation and citation are often considered as important characteristics. In art history, the label can be applied to many artworks created after the 1960s; however, it is not used for one specific genre of art. The term can be applied to not only pop art in its resisting of cultural hierarchies and conceptual art deviating from medium-specificity, but also land art, body art, video art, and installation art in terms of their critically expanding of artistic genre and form in challenge to established convention. In the context of the 1980s, Neo-expressionist paintings, returning back to figuration and historical eclecticism (such as Julian Schnabel’s works), and the ironically “staged” self-portrait photographs of Cindy Sherman question the originality and provide evidence of the variety of artistic practices that could be termed as postmodernist art. As such, the term postmodernism, can perhaps most usefully be considered in application to the diverse types of artistic practices that challenge the conventional notions of modernism. In Korea, postmodernist works offer an equally diverse field of practice depending on the definition of “postmodernism” in question. Historically, the term was used to describe the work of the small art groups called “New generation” that emerged between the end of the 1980s and early 1990s. These groups often focused their work on de-centered topics, usage of multi-media, an affinity with popular culture, and a casual attitude towards fine art. Some people also regard the Minjung Art movement as representative of postmodernism in Korea. This is because it emerged as a direct criticism against national modernist art including Dansaekhwa of the 1970s.
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Installation
In a general sense, the term “installation” refers to the display or arrangement of artwork within an exhibition. In a stricter sense, the term “installation” can also refer to an art work specifically based in its wider display environment. Such installation art often attempts to enable the audience to become part of the new environment that the work creates. In this circumstance, the artwork becomes defined not only by its space, but also in terms of the relationship between the work, space and the audience.
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