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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

David M. Sokol

(b Okayama, Sept 1, 1893; d Woodstock, NY, May 14, 1953).

American painter, photographer and printmaker of Japanese birth. He arrived in the USA in 1906 and studied at the Los Angeles School of Art and Design from 1907 to 1910. He then moved to New York, studying, in rapid succession, with Robert Henri at the National Academy of Design, at the Independent School of Art and from 1916 to 1920 with Kenneth Hayes Miller at the Art Students League. He supported himself through his later art studies and thereafter as an art photographer. He travelled to Europe in 1925 and again in 1928, settling in Paris, where he studied lithography at the Atelier Desjoubert. After a trip back to Japan in 1931 he worked on the Federal Art Project of the Works Progress Administration during the Depression. Paintings such as Fisherman (1924; New York, MOMA) show both his interest in Surrealism and a blend of his two cultures. His massive forms of the late 1930s and early 1940s, as in ...