Image provided by SUN Gallery
SUN Gallery
* Source: Multilingual Glossary of Korean Art. Korea Arts Management Service
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Modern and Contemporary Sculpture
The term “modern and contemporary sculpture” refers to sculptural works that go beyond conventional materials such as wood, marble, and bronze and the materialization of traditional realism, and adopts instead non-figurative representations and new materials from the industrialization era. As the development of Neo-dada, Pop Art, Minimalism, Land Art, and Conceptual Art gradually diminished the importance of genre and medium in the second half of the twentieth century, modern and contemporary sculpture became increasingly marginalized.
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Sun Misul
Sun Misul was founded in 1979 by Sun Gallery. It was published with the aim of spreading and expanding art culture in South Korea for 13 years until it closed in 1992. Major editorial members have included Yoo Hongjune, former head of the Cultural Heritage Administration, while Kim Chang-sil, president of Sun Gallery, participated as a cultural columnist. It focused on important issues in the art world by presenting major artists as cover figures and dealing with their works in detail. In its first year, Sun Misul introduced the Egyptian Civilization Exhibition held in the United States and introduced ancient Egyptian civilization to the readers, which was not well known in South Korea at that time. In May 1980, an exhibition was held at Sun Gallery to commemorate the 1st anniversary of its foundation.
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hangukhwa
A type of painting created during the 20th century that uses traditional Korean materials, techniques, and styles. The term emerged from the criticism that traditional-style paintings were called Eastern paintings in Korea, in contrast to China, where they were called national-style paintings, and Japan, where they were called Japanese-style paintings. The term hangukhwa (Korean Painting) entered official use following the overhaul of the educational curriculum in December 1981, and the appearance of the term Korean painting, with the subcategories ink wash painting [sumukhwa] and ink and light-colored painting [damchaehwa] were listed in art textbooks from 1983. The Grand Art Exhibition of Korea also began using the term hangukhwa (Korean Painting), as opposed to Eastern painting, in 1982. Prior to this, Hankukhwahui (Korean Painter’s Association) was used as a collective term for such Korean painters in 1964 and Kim Youngki (pen name Chunggang) argued to use the term Korean painting to define national identity in his essay “On hangukhwa (Korean Painting) and Criticism.” Criticism that Korean paintings, unlike the national paintings of China and Japan, do not have a narrative theme, and that the use of such a term was contrary to contemporary artistic trends, resulted in the term “hangukhwa (Korean Painting)” failing to achieve mainstream use. Hangukhwa (Korean Painting) is currently used interchangeably with the term Eastern painting.
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Bando Gallery
Korea’s first commercial gallery, which opened on the first floor of Bando Hotel in 1956. The interest of the wives of foreign dignitaries and businessmen led the establishment of the gallery, which was characterized by its joint establishment and management by both the government and the private sector. After the key managers returned to their countries of origin in 1957, the gallery operated with the support of the Asia foundation. In 1959, artist Lee Daiwon took over as manager, and the gallery developed into the only permanent exhibition space in Seoul. The emergence of numerous commercial galleries in Insa-dong during the 1970s resulted in the closure of Bando Gallery.
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Myeong-dong Gallery
A gallery managed by Kim Munho from 1970 to 1982 which first opened in a building opposite Myeongdong Cathedral in December 1970. The gallery then moved to five different locations including Chungmu-ro, Anguk-dong, and Gwanhun-dong, before it closed in April 1982 following the death of Kim. Notable shows that took place in the gallery included; a solo exhibition of Lee Ufan’s works in 1972, the exhibition Abstraction-Situation and Form and Antiform in 1973, and a solo exhibition of Kim Kulim’s works in 1976. The Gallery also supported the launch of a periodical called Hyundai Misul in 1974, which only ran for a single issue.
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