1950년대 앵포르멜 운동과 방근택: 현대미협을 중심으로
Bang Keun Taek and Modern Artist Association: Reconsidering on Informel movement in the 1950s
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Many Korean art historians have researched the ‘Informel’ movement, which was started from about 1958 and influenced into Korean modernist paintings during the 1960s. Bang Keun Taek, an art critic who is always referred in the formation of the Korean Informel has been known for an important provider for theoretical circumstances of this period. He had gained his reputation from the article of “The life and art of Georges Rouault” pressed in <Yeonhap Shinmun> of February in 1958 and contributed a critical review on the third exhibition of Modern Artist Association, which is understood as the first show of Korean Informel by scholars held in May of the same year. In fact, Bang joined the Informel movement from 1958 to 1960 with the contemporary young artist group of ‘Modern Artist Association’, and was reputed as a crucial art critic by artist fields at that time. However, he had never got a chance to be evaluated his contribution to this artistic turning point when several art historical studies reconsidered it in later. Thus, it is very clear that Bang made his efforts and influenced to Korean Informel movement even though further research and reinterpretation should be followed to reconsider his life and achievement from now on. This study initiates a question how Bang Keun Taek took his role in the development of Informel movement which was researched and studied by many scholars and art critics from the documents and published media. Therefore, the paper will discuss what was his real activity and influence to the Korean Informel which was lead by artist Park Seobo in the close relationship with the Modern Artist Association in the historical context. This approach gives a depth and width on the study of Korean Informel providing another vision to be reviewed the existing evaluation mainly focused on the Modern Artist Association with Park Seobo. In the first chapter of this paper will be discussed the artistic condition and environment when Informel movement began at the end of 1950s and the origin and the usage of the terminology of ‘Informel’ in the context of cultural and historial background of Korea. The second chapter examines two continual exhibitions held by Modern Artist Association with the path of Bang Keun Taek. Then, his relationship and influence to Modern Artist Association in the third chapter and his commitment to artist Park Seobo will be explained to reconsider unknown parts of art historical moment of Korean Informel movement.
Abstract
Many Korean art historians have researched the ‘Informel’ movement, which was started from about 1958 and influenced into Korean modernist paintings during the 1960s. Bang Keun Taek, an art critic who is always referred in the formation of the Korean Informel has been known for an important provider for theoretical circumstances of this period. He had gained his reputation from the article of “The life and art of Georges Rouault” pressed in <Yeonhap Shinmun> of February in 1958 and contributed a critical review on the third exhibition of Modern Artist Association, which is understood as the first show of Korean Informel by scholars held in May of the same year. In fact, Bang joined the Informel movement from 1958 to 1960 with the contemporary young artist group of ‘Modern Artist Association’, and was reputed as a crucial art critic by artist fields at that time. However, he had never got a chance to be evaluated his contribution to this artistic turning point when several art historical studies reconsidered it in later. Thus, it is very clear that Bang made his efforts and influenced to Korean Informel movement even though further research and reinterpretation should be followed to reconsider his life and achievement from now on. This study initiates a question how Bang Keun Taek took his role in the development of Informel movement which was researched and studied by many scholars and art critics from the documents and published media. Therefore, the paper will discuss what was his real activity and influence to the Korean Informel which was lead by artist Park Seobo in the close relationship with the Modern Artist Association in the historical context. This approach gives a depth and width on the study of Korean Informel providing another vision to be reviewed the existing evaluation mainly focused on the Modern Artist Association with Park Seobo. In the first chapter of this paper will be discussed the artistic condition and environment when Informel movement began at the end of 1950s and the origin and the usage of the terminology of ‘Informel’ in the context of cultural and historial background of Korea. The second chapter examines two continual exhibitions held by Modern Artist Association with the path of Bang Keun Taek. Then, his relationship and influence to Modern Artist Association in the third chapter and his commitment to artist Park Seobo will be explained to reconsider unknown parts of art historical moment of Korean Informel movement.
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