1978 International Exchange Exhibition of Prints Seoul,, Catalog, 1978, MMCA Art Research Center Collection, Gift of Hwang Yangja
1978 Seoul International Print Exchange Exhibition
* Source: MMCA
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National Museum of Modern and Contemporary Art, Korea (MMCA)
A national museum established in 1969 that researches, collects, and exhibits modern and contemporary art. As of 2018, there are branches in Gwacheon, Deoksugung, Seoul, and Cheongju. When first established, the National Museum of Modern Art (now MMCA) was located within Gyeongbokgung palace. In 1973, the museum moved to the East Wing of the Deoksugung Seokjojeon building. Then, in 1986, the museum moved to its current location in Gwacheon, to occupy a new building equipped with an outdoor sculpture exhibition space, and has since opened a new chapter in Korean art. The perceived need for a space to focus specifically on Korean contemporary art led to the establishment of further site, the National Museum of Contemporary Art, Deoksugung in 1998. In November 2013, a further demand for contemporary art exhibitions led to the establishment of another Seoul branch being created in the Defense Security Command building in Sogyeok-dong, Jongno-gu, which has since its inception engaged in multifaceted exhibitions of both domestic and overseas contemporary art. Also, as a further component of the MMCA complex, a disused tobacco factory in Cheongju was remodeled to provide a home to the National Art Storage Center.
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Korean Contemporary Printmakers Association
The Korean Contemporary Printmakers Association was founded in January 1968 to promote the distribution of and understanding about modern Korean prints while establishing a network between members. It was led by artists such as Kang Whansup, Kim Minja, Kim Sangyu, Kim Choungza, Kim Chonghak, Kim Foon, Bae Yoong, Suh Seungwon, Yoo Kangyul, Youn Myeungro, Rhee Sangwooc, Chun Sungwoo, and Choi Youngrim. It has played an important role in the revival of Korean prints, including holding regular association exhibitions, discovering and supporting artists, sharing knowledge on print through training sessions, and planning international exchange exhibitions. It has helped to produce leading artists in the Korean print field and organized joint exhibitions with various overseas artists to create a place for art exchanges. In 1996, the association announced regulations on original prints to provide an institutional system for the global internationalization of modern Korean print and the identification of Korean prints. Currently, more than 400 members are active.
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Deoksugung Museum of Art
A term that refers to two separate art museums that have existed in the grounds of Deoksugung palace at different times. First, the Yi Royal Family Museum, which was built in 1938 and renamed the Deoksugung Museum of Art after independence in 1948. This iteration of the Museum was merged with the National Museum of Korea in 1969. Separately, in 1998 a branch of the National Museum of Contemporary Art, Korea (now MMCA) was established at this location, and also named the Deoksugung Museum of Art. In 2013, the official name of the branch was changed to the National Museum of Modern and Contemporary Art, Deoksugung but some people still use the previous name, Deoksugung Museum of Art.
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Kang Kukjin
Kang Kukjin (1939-1992) was a leading artist in experimental art that emerged in Korean art scene from the late 1960s through the 1970s. In 1965, he graduated from the College of Fine Arts at Hongik University. In 1964, Kang Kukjin founded the Non Col, advocating a break with the established generation. He joined the Sinjeong Group in 1967 and worked in experimental art with objets, installations, and happenings. Participating in the Union Exhibition of Korean Young Artists held in 1967 along with Chung Chanseung, Jung Kangja, and others, Kang staged Happening with Vinyl Umbrella and Candle, the first performance art in Korea. In the following year, he performed Transparent Balloon and Nude and Murder at the Han Riverside. Later, Kang expanded the scope of his contemporary art by devoting himself to three-dimensional works and installations. He also led the popularization of printmaking by opening the first printmaking workshop in 1971. In the mid-1970s, he resumed painting. From then on, he produced the Rhythm series (1985) that explored Korean sentiments through repeated line drawings and the Light of History series (1989) that sought the original form of Korean beauty in historical artifacts like ancient clay figurines and Buddhist images. In 2019, the Kang Kukjin Print Award was established by the Kang Kukjin Foundation and Korean Contemporary Printmakers Association [Hanguk hyeondae panhwaga hyeophoe].
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International Biennial of Contemporary Color Lithography
The International Biennial of Contemporary Color Lithography was an international print exhibition held from 1950 through 1960 by the Cincinnati Art Museum in Ohio in the U.S. At the time, there was a printmaking boom in the U.S. sparked by the relocation of Atelier 17, a notable Parisian printmaking studio, to New York in 1940. In the 1950s and 1960s, the International Graphic Arts Society (IGAS) was founded, and several special exhibitions on prints were held, including New Expressions in Fine Printmaking: Ideas, Methods, and Materials (Brooklyn Museum, 1952). In addition, institutions for exploring printmaking, such as Pratt-Contemporaries Graphic Arts Center, Tamarind Lithography Workshop, and Universal Limited Art Edition (ULAE), were built. Under these circumstances, Gustave von Groschwitz, a curator of prints at the Cincinnati Art Museum from 1947 to 1963, organized the first biennial of color lithographs in the U.S. Only works created within two years could be submitted to the biennial, allowing two prints per artist. Korean artists had participated in the biennial since 1958. Yoo Kangyul, Kim Choungza, Choi Dukhyu, Kim Sou, Rhee Sangwooc, and Lee Hangsung took part in the fifth edition in 1958. Their participation in the biennial led to the acquisition of some works by the Cincinnati Art Museum. They were Face and Pagoda by Kim Sou, Winter by Rhee Sangwooc, and Silhouette and Buddha’s Spirit by Lee Hangsung. This marked the first overseas debut of contemporary Korean prints. In the sixth edition held in 1960, Mountain Sentiment and Revival by Lee Hangsung and Study by Bae Yoong won prizes. Starting in 1962, the International Biennial of Contemporary Color Lithography was held as a triennial and renamed International Prints.
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Seoul Print Art Fair
The Seoul Print Art Fair was an international art fair held ten times from 1995 to 2004 by the Korean Print Art Promotion Association [Hanguk panhwa misul jinheunghoe]. Founded in 1995, the Korean Print Art Promotion Association hosted the fair in an effort to revitalize Korean print art and establish a competitive sample market for building a global print distribution network. The launching of the fair was made possible by dedicated efforts of the printmaker Kim Sangku, and it was modeled after the French print fair SAGA. Fifty-seven domestic and overseas galleries, workshops, and related enterprises participated in the first Seoul Print Art Fair held in 1995. At the first edition held at Seoul Arts Center, many galleries exhibited high-quality works. Through a special exhibition, showcasing selected fifty-four artists under the age of forty, the fair also achieved success in supporting young printmakers. Since 1996, the Korea Print Art Promotion Association has been responsible for discovering and nurturing newcomers through the "Belt" system, and these emerging artists debuted at the following year's "Seoul Print Art Festival." Consequently, the art festival has also taken on the role of discovering and fostering new talent in the Korean printmaking community. For ten years, the Seoul Print Art Fair played a leading role in enhancing the popularity of prints and offering a chance for international cultural exchanges by encouraging printmakers and arranging encounters with the public. It also strove to expand the concept of prints by displaying mixed media works utilizing printmaking techniques and encompassing a variety of works that reflected the main theme of the exhibition, besides prints. In 2005, it was renamed the Seoul International Print, Photo & Edition Works Art Fair to include various editioned works, such as photographs.
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