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Korean, 20th – 21st century, female.

Active in the USA.

Born 1957, in Taegu.

Installation artist, sculptor, performance artist, video artist.

Kim Soo-ja settled in New York. She uses Korean cloth in her work, which she folds, crumples or hangs; for her the fabric has symbolic weight, one tied to the culture of her country. The cloth becomes a metaphorical relation with her body. Rolled in a bundle to form a ...

Article

Sook-Kyung Lee

One of the characteristics of Korean contemporary art is a continuous effort in employing and interpreting international art practices and discourses. Art movements from Europe and North America in particular, including Abstract Expressionism, Art informel, Minimalism, Conceptual art and Post-modernism, have influenced many Korean artists’ styles and ideas since the 1950s, providing formal and conceptual grounds for critical understandings and further experiments. Whilst some artists who maintained traditional art forms such as ink painting and calligraphy exercised modernist styles and abstract forms largely within the norms and conventions of traditional genres, a large group of artists proactively adapted to Western styles, employing new materials and techniques as well as the notions of avant-garde and experimentalism (see fig.).

A major critique of the reception of Western art and aesthetics came from ‘Minjung art’ (People’s Art) in the 1980s as part of instigating a nationalist and politically charged art strategy. Several art historians and critics who emerged in the 1990s also expanded the scope of the debate with postcolonial and pluralist points of view. The shift in social, economic and political environments played an important role in changing sensibilities in art, along with the advances of technology and new media in the 2000s. The high degree of diversity and sophistication of Korean art in terms of media and subject matters became widely acknowledged within and outside the nation, and an increasing number of artists started to work on the cutting edge of international art....

Article

Japanese, 20th – 21st century, female.

Active in New York.

Born 1967, in Tokyo.

Sculptor, photographer, video artist.

Mariko Mori first studied fashion design in Japan before working as a model during the late 1980s. She then went on to study in London at the Byam Shaw School of Art and Chelsea College of Art and Design in London. In ...

Article

Catherine M. Grant

revised by Jennifer Way

(b Tokyo, Feb 21, 1967).

Japanese photographer, video artist, performance artist, sculptor, installation artist and painter. Mori studied fashion at the Bunka Fashion Institute in Tokyo from 1986 to 1988 and worked part-time as a model before moving to London to study at the Shaw School of Art (1988–9) and the Chelsea College of Art (1989–92), where she earned a BFA. In New York she participated in the Independent Study Program at the Whitney Museum of American Art (1992–3). In 1994 Mori returned to Tokyo and began making large digital photographs and videos in which she appears as a ‘shaman, mermaid, cyber-geisha and visitor from the future’ (Johnson, p. 56). Subsequently, she assembled teams of stylists, photographers, computer imagists, sound technicians and fabricators along with musicians and scientists to create immersive multimedia installations consisting of digital photography, music, video, cinematic spatial effects, abstract biomorphic sculptural forms, paintings and scent, engaging users and responding to data and environmental stimuli. She exhibited her art in biennale exhibitions throughout the world, for example, in Singapore, Venice, Shanghai, Sydney, Kwangju, Istanbul and Lyon. From ...

Article

Karen M. Fraser

(b Hyogo Prefecture, 1945).

Japanese photographer, sculptor, and conceptual artist. He studied at Kyoto City University of Fine Arts, where he earned a BFA in 1967 and an MFA in 1969. Nomura was initially trained as a sculptor. In his MFA thesis project, Tardiology (1969), Nomura explored the idea of non-permanent sculptural form, creating an eight-metre tall cardboard sculpture and then using photographs to record the changes in form as the boxes gradually collapsed under their own weight. From that point on photography was one of his primary media. Nomura was interested in investigating processes of scientific and natural phenomena with a particular focus on the passage of time. He used photographs to capture movement and changes over time and to make previously unseen things visible. Many of his projects were created over lengthy periods, with photographs being taken daily or monthly and for years. In his 1991 Analemma series (The Analemma ’91-Noon...