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Minjung art (Korean: 민중미술, romanization: minjung misul) emerged during the 1970s and 1980s democracy movement in South Korea widely known as the Minjung movement. Minjung artists utilized a wide array of media, including oil painting , woodblock print , collage , photomontage , banner painting, and readymade , in order to respond to the ...
Korean arts include traditions in calligraphy, music, painting and pottery, often marked by the use of natural forms, surface decoration and bold colors or sounds. The earliest examples of Korean art consist of Stone Age works dating from 3000 BC. [1] These mainly consist of votive sculptures and more recently, petroglyphs, which were rediscovered.
Reality and Utterance (Korean: 현실과 발언, romanized: Hyeonsil Gwa Bareon) was a minjung (people’s) is an art group active from 1979 to 1989.[1]: 28 The group membership consisted of art critics and artists who wanted to make art that not only reflected the everyday joys and political struggles of Korean society, but also actively transformed socio-political realities.
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The violent oppression of the Gwangju Democratic Movement of May 1980 fuelled the so-called Minjung Cultural Movement (Minjung munhwa undong, 민중문화운동) which encompassed fields of history, aesthetics, philosophy, humanities, religion, media, and education, but the visual arts was the most powerful and pragmatic means to navigating the direction of the cultural movement. [16]
Often that art was filtered through the example of Japanese artists and teachers, who had been involved in a variety of Western interactions and who colonized Korea from 1910 to 1945. That makes ...
Mukrimhoe (Korean: 묵림회), literally translated in English to Ink Painting Society, was an avant-garde Korean ink painting collective and movement that heralded the adoption of abstraction within the ink painting circles of 1960s Korea. [1]
It spurred a debate in the Korean art world on how to define Korean modern art in relation to the global art world and through style (realism vs. abstraction), [20]: 39 and compelled younger artists who did not want to fall into either camp to create their own collectives and movements. [22]: 113