• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.1-12
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• 2006

The result of this study can be summarized as follows. First, the result of the examination about the theoretical background of the monochrome was influenced by the minimalism and modernism, and consequently the abstract expressionism which is the main trend of the modern painting was formed basing upon the plane feature and unicolor character, and it was recognized that the custom of the plane feature was implied into the monochrome. Second, the aesthetic characteristics such as the beauty of body, beauty of simplicity, beauty of nature, beauty tradition, and beauty whole of the Korean monochrome paintings in 1970s were expressed in the modern fashion as follows. The beauty of body can be told as the dress which exposes the body or See-through look in the modern fashion. The beauty of simplicity is expressed as the most simple and non-decorating minimalism element. The beauty of nature is expressed by using the natural and convenient color without any artificiality. The beauty of tradition is expressed in the Han-bok natural white material. The beauty of whole is easily expressed by using repeated print, partition or overall harmonized beauty.

• Proceedings of the Korea Society of Costume Conference
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• 2004.10a
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• pp.70-71
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• 2004

• The Journal of Art Theory & Practice
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• no.3
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.