The allure of Korean art lies in its modernity and innovative challenges, built upon a foundation of history and tradition. Lee Ungno (1904-1989) progressed from ink paintings of bamboo to Japanese art techniques before moving to France in 1959 to explore experimental art. He ultimately developed his unique abstract style. Park Soo-keun (1914-1965), a beloved national painter, drew inspiration from Gyeongju’s rock-carved Buddha statues. He created a distinctive style by repeatedly layering unmixed oil paint, producing images resembling stone carvings. Lee Jung-seob (1916-1956), a tragic genius, infused his cow paintings with the national spirit. Influenced by Goguryeo tomb murals he saw as a child in Pyongyang, he combined Goryeo celadon inlaying and metal craft techniques to create “silver foil paintings”—the first Korean works acquired by New York’s the Museum of Modern Art (MoMA). Kim Whanki (1913-1974), a pioneer of Korean abstract art, admired moon jars for embodying Korean aesthetics. His works, featuring white porcelain motifs, culminated in all-over dot paintings inspired by ink’s spreading effect.
Yun Hyong-keun (1928-2007), Kim’s student and son-in-law, continued exploring ink’s depth. Influenced by Chusa’s calligraphy and Eastern philosophy, he aimed to capture nature’s principles in his paintings, attracting international collectors with his distinctly Eastern approach. Korean abstract art in the 1970s diverged from Western monochrome and minimalism. Dansaekhwa (monochrome painting), exemplified by Kim Whanki and Yun Hyong-keun, gained global recognition by infusing traditional exploration with natural reverence, quiet spirituality and relentless performativity. Park Seo-bo’s “Ecriture” technique, rooted in Hanji (traditional Korean paper), evolved into “color ecriture” post-2000, offering healing through natural hues. Chung Sang-hwa’s ceramic-inspired paintings and Ha Chong-hyun’s innovative “back pressure method” have further piqued international interest in Korean contemporary art.
Lee Ufan, Korea’s most renowned living artist, synthesizes technique and philosophy, embodying tradition, modernity, nature and East-West philosophical fusion. This synthesis is why he has become so famous.
Korean art’s strength also lies in its subversive “Dynamic Korea” aesthetics. Nam June Paik, a Korean-born global icon, pioneered “video art.” The experimental artists of the 1960s-70s, showcased at New York’s Guggenheim in 2023, are being reevaluated for their avant-garde approaches.
Korean art’s intensity stems from exploring historical consciousness and social issues. The North-South division is a uniquely authentic subject for Korean artists. Artists addressing themes like the Korean War, democratization, and rapid industrialization have been featured in international exhibitions. Lee Bul (focused on women’s and human rights), Choi Jeong Hwa (who critiques industrialization through kitsch), Suh Do Ho (who explores identity), Kim Sooja and Yang Hae-gue have collectively elevated Korean art’s global status.