What is the Realist Painting of the Postwar Generation?, Brochure, 1978, MMCA Art Research Center Collection
What is the Realistic Painting of the Postwar Generation?
* Source: MMCA
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Korean Art Grand Award Exhibition
An art exhibition held seven times from 1970 to 1980 and sponsored by Hankook Ilbo. The exhibitions were held in celebration of the 15th anniversary of Hankook Ilbo, and the first was held at the National Museum of Modern and Contemporary Art from June 9 to July 9, 1970. A total of about 600 works of East Asian art, Western art, prints, and sculptures were featured. 116 pieces out of 557 submissions were selected, and 59 works of invited artists were featured. A panel of 18 artists and judges participated in an open evaluation, and Kim Whanki’s Where, in What Form, Shall We Meet Again won the first-place prize. Starting with the second exhibition, the requirements for submissions were eliminated, and all work was judged through open evaluation. From its fifth exhibition, the submission was divided into appointed and general submission.
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Hyperrealism
A genre of art that depicts objects and forms in a “hyperrealistic” manner. The Hyperrealist artists often use a precise painting technique to echo the detail of photographic images. Through this painstaking painterly process of creation, which is fundamentally different from the automatic and immediate process of photography, hyperrealist artists aim to evoke the effect of unexpected shock in the viewer. In Korea, the trend of hyperrealistic expression was prominent from the late 1970s and the mid-1980s onward. This was known as Korean hyperrealism. The artists that belonged to this movement, however, rejected the label on the basis that their work existed outside and was different to the Western hyperrealist tradition. Therefore the term neo-figurative painting, suggested by theorists, has been frequently used to describe their work. This hyperrealistic painting movement is sometimes considered as a direct antecedent to the concern with figuration that proliferated within Korean art after the 1980s.
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JoongAng Fine Arts Prize
JoongAng Fine Arts Prize was launched by the JoongAng Ilbo newspaper company in 1978. Along with the Dong-A Art Festival initiated by the Dong-A Ilbo newspaper company and the Dong-A Broadcasting System in the same year, it was one of the two leading private exhibitions. It began with a goal to overcome the irregularities of the National Art Exhibition (Daehanminguk misul jeollamhoe or Gukjeon), discover new talents, and encourage diverse creations. The JoongAng Fine Arts Prize was run mainly in the form of competitions and invitational exhibitions, but the invitational exhibitions ran only for four rounds and was discontinued. As the Gukjeon was abolished in 1981, the JoongAng Fine Arts Prize came to be firmly established as a gateway for young artists alongside the Dong-A Art Festival. Under the influence of the Gwangju Biennale that started in 1995, it was renamed the JoongAng Biennale. However, two years later in 1997, it reverted to the JoongAng Fine Arts Prize. As channels through which artists debuted became diversified in the 1990s onwards, its status as a gateway for young artists gradually weakened. Starting in 2005, it attempted to make changes by providing selected artists with production expenses and a space for exhibiting their completed works. Nevertheless, it ended up being discontinued with the thirty-eighth edition held in 2016 as the last exhibition.
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