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Painting between past and future
Art and AsiaPacific, 2016-03 (97), p.106-113
ISSN: 1039-3625
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Title:
Painting between past and future
Author:
Robert Liles
Subjects:
Career development
;
Choson Misul Pangmulgwan
;
Evaluation
;
Ink painting, Chinese
;
Painting, Korean
;
Sex in art
;
Themes, motives
;
Young-Woo, Kwon (artist)
Is Part Of:
Art and AsiaPacific, 2016-03 (97), p.106-113
Description:
Despite his many artistic transformations, Kwon Young-woo (1926-2013) managed to provoke several versions of the same response over the course of his six-decade career. At the 1954 National Exhibition in his native South Korea, the young artist showed with a group of ink painters who were described in the Kyunghyang Shinmun daily newspaper as "the new avant-garde of Eastern painting," a tendency critics saw in works such as Sculptor's Studio (1954), an ink-on-paper rendition of a room cluttered with easels and half-finished, semi-abstract sculptural forms. More than 40 years later, when Kwon was awarded the 1998 Artist of the Year prize at Korea's National Museum of Modern and Contemporary Art, curator Junmo Jung once again presented him as a modern literati painter, an artist who transforms our "seemingly stopped, traditional aesthetics . . . [into] a constantly progressing tradition." The works in the accompanying exhibition, however, bore little resemblance to what Kwon had produced in the 1950s. For this show, the National Museum was bathed in white: the walls were hung with large-scale works consisting of ordinary objects - clothes hangers, nails, license plates - arranged neatly on flat surfaces and encased in bright, white layers of mulberry paper. Outside were sculptures made from discarded plastic rice-wine bottles, densely stacked to form translucent, white masses.
Identifier:
ISSN: 1039-3625
Source:
ProQuest Central
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