Contemporary Printing Arts Exhibition for Decade, Pamphlet, 1969, Image provided by Kimdaljin Art Archives and Museum
Contemporary Printing Arts Exhibition for Decade
* Source: MMCA
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Korea Prints Association
An art association formed in January 1958 to stimulate the discipline of printmaking and to popularize the concept of printmaking. Members included Yoo Kangyul, Choi Youngrim, Park Sungsam, and Lee Hangsung. The group held its inaugural exhibition from March 18 to 24, 1958 at the Korean Information Service Gallery, and it held regular shows—once or twice per year—until 1968. The association held contests for upcoming artists from 1964 to 1975 in order to expand the base for printmaking. In 1969, the association held a printmaking contest for children. It also notably sought to achieve the internationalization of Korean art through the Korean Print Exhibition in 1968 in the Philippines. The association became less active after several young artists left the association and the Korean Contemporary Printmakers Association (Hanguk hyeondae panhwaga hyeophoe) in 1968.
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Lee Hangsung
Lee Hangsung (1919-1997) was a Western-style painter and printmaker who pioneered Korean contemporary printmaking and a leading publisher who promoted the publication and dissemination of art books. He learned painting from Kwon Jungrok, a Western-style painter active in Daejeon, and worked as a stage artist at Dongyang Theatre in Seoul. In 1945, he established a publishing company Munhwa Gyoyuksa and published art textbooks for elementary, middle, and high schools and art books such as Seoyang misulsa (History of Western art) and Segye misul jeonjip (Collection of world art). In 1956, he established another publishing company Sinmisulsa and published Sin Misul (New art), the first art magazine in Korea, thus exerting influence upon the formation of the culture of art criticism. Lee Hangsung led the founding of the Korea Prints Association [Hanguk panhwa hyeophoe] along with Yoo Kangyul, Chung Kyu, Choi Youngrim, and others. In 1958, Lee held the first solo exhibition of lithographs by a Korean artist. Winning an honorable mention for the lithograph Tender Heart of the Buddha at the fifth International Biennial of Contemporary Color Lithography held in 1959 at Cincinnati Art Museum in the U.S., he secured his place in the Korean art scene as a printmaker. Later, he produced print works using Joseon-era wooden blocks that were used for printing old books, letterheads, book covers, and those for imprinting patterns on rice cakes. In his later years, he continued to create works that revealed his Eastern spirituality by pictorializing Chinese characters, such as “念” (yeom, meaning idea), “情” (jeong, meaning affection), “思” (sa, meaning thought), and “心” (sim, meaning mind). Lee contributed to the development of art education by serving as president of the Korean Art Education Association [Daehan misul gyoyuk gyeophoe] and chairman of the Korean Committee of the International Society for Education [Gukje misul gyoyuk hyeophoe hanguk wiwonhoe].
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National Art Exhibition
A government-hosted exhibition held 30 times from 1949 to 1981, also known by the shorter name Gukjeon. Following national independence, the exhibition was the primary means for young and emergent Korean artists to achieve recognition. The influence of the exhibition declined as a result of the emergence of non-figurative art during the 1970s, the increased opportunities for artists to participate in overseas exhibitions, and the rise of private exhibitions and galleries.
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