Contemporary Prints Grand Prix Exhibition
The Contemporary Prints Grand Prix Exhibition was a printmaking competition hosted by Myeong-dong Gallery in 1971 and 1973. In the 1970s, Myeong-dong Gallery published the Selected Works of Korean Contemporary Prints (1971) to stimulate the distribution of prints and held a competition for the first time as a commercial gallery to discover new talents in printmaking and improve the quality of printmaking. The First Contemporary Prints Grand Prix Exhibition (October 14–20, 1971) was held under the sponsorship of the Asia Foundation and The Kyunghyang Shinmun newspaper. Simultaneity-Childhood 71 by Suh Seungwon won the gold prize, Pantomime 2353-II by Song Burnsoo won the silver prize, and Hanging out on Namsan Mountain by Kim Jinsuk won the bronze prize. Wall by Lee Seungil, When a Single Leaf is Shaking by Baik Kumnam, and A Sobbing Woman by Kim Tchasup received honorable mentions. The second competition (September 1–8, 1973) was co-sponsored by The Kyunghyang Shinmun newspaper and the Korean Contemporary Printmakers Association [Hanguk hyeondae panhwaga heyophoe]. With sixty-two entries, there was no gold prize winner. Situation A by Jeong Ingeon won the silver prize, and Chisel 7315 by Kim Jinsuk, and Black and White 73/4 by Shim Sookoo won the bronze prize. The competition was only held twice due to the lack of awareness of painting circles at the time and the indifferent response from artists. However, the first gold prize winner Suh Seungwon went to Japan with the prize money, which contributed to the advancement of Korean artists overseas.
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.
1978 Seoul International Print Exchange Exhibition
The 1978 International Exchange Exhibition of Prints Seoul was held at the National Museum of Modern Art (now MMCA) from March 14 to 23 in 1978. It was organized by the Korean Contemporary Printmakers Association [Hanguk hyeondae panhwaga hyeophoe] and sponsored by Gyegan Misool art magazine of the JoongAng Ilbo newspaper company. Artists from five countries (Korea, Taiwan, Hong Kong, Japan, and the U.S.) participated in the exhibition. There were a total of thirty-eight Korean artists: Kang Kukjin, Kang Whansup, Kwak Duckjun, Kwon Yeongsuk, Kim Kulim, Kim Minja, Kim Bongtae, Kim Sangku, Kim Sangyu, Kim Seon, Kim Youngchull, Kim Choungza, Kim Tchahsup, Kim Taeho, Kim Hyungdae, Ro Jaewhoang, Bae Yoong, Baik Kumnam, Suh Seungwon, Seok Ranhui, Youn Myeungro, Lee Kangso, Rhee Sangwooc, Lee Sunman, Lee Ywanho, Lee Ufan, Lee Eunsan, Lee Inhwa, Chang Hwajin, Chun Kyungja, Oan Kyu, Chung Chanseung, Cho Kookjeong, Jo Junyeong, Cha Myunghi, Choi Insu, Han Unsung, and Hwang Kyubaik. Ninety-seven artists submitted a total of 300 works, including fifty-nine from overseas. Korean artists demonstrated a wide range of trends in contemporary Korean printmaking, reflecting contemporaneous art, such as conceptual or monochrome art, geometric or expressionistic abstraction, and pop art, and emphasizing Korean and indigenous sentiments. The participation not only by printmakers but also by artists working in various mediums shows the art community’s interest in print genre at the time. In the 1970s, the Korean Contemporary Printmakers Association focused on international exchanges through prints, and this exhibition is one of its prominent achievements.