akive

By Chung Ah-young

Before moving to the United States in 1963, Korean modern art pioneer Kim Whan-ki (1913-74) eagerly collected ancient jars from the Joseon Kingdom (1392-1910) and wooden furniture to encompass traditional motives in his abstract paintings through dots and lines.

While working in the United States, he strived to create formative art reflecting both traditional Korean beauty and universal aesthetics to complete his art world.

With a focus on works containing Korean identity, the National Folk Museum of Korea, Whanki Museum and Korean Embroidery Museum are jointly holding a special exhibition through Dec. 9 at the Whanki Museum in Buam-dong, central Seoul.

The exhibition displays 14 pieces of wooden furniture, one moon-patterned jar and 48 pieces of “bojagi” (wrapping cloth) along with 50 paintings by the first generation Western-style artist.

Titled “Kim Whan-ki and The Beauty of Korea ― Echo of Dot, Line and Plane,” the exhibition highlights a new art history-based interpretation regarding the fundamental formative units ― dots, lines and planes.

The museums have focused on Kim’s artistic origin in a complimentary relationship between Korean tradition and modern art, featuring how he adopted traditional subjects into modern Western-style, abstract art.

The beauty of planes and simple lines of “Sabang Takja” (traditional wooden display shelves) inspired the construction of lines in Kim’s painting “Untitled” in 1974. The artist also instilled the aesthetics of lines and planes and vivid colors of traditional wrapping cloth into his paintings.

The beauty of Korea traditional wooden furniture and wrapping cloths seems no relation with Western abstract art but the two art scenes share the pursuit of aesthetics using planes, dots and lines, the museums said in the press release.

The Whanki Museum is also celebrating the 20th anniversary of its inauguration with the exhibition. For more information, visit whankimuseum.org.

http://koreatimes.co.kr