Lee Tae Hyun (Artists)
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| Lee Tae Hyun (Artists) | |
|---|---|
_%EB%A9%94%EC%9D%B8_%EC%BB%B7%3D%EC%9E%91%EC%97%85%EC%8B%A4%EC%97%90%EC%84%9C_%EC%9D%B4%ED%83%9C%ED%98%84_%ED%99%94%EB%B0%B1%3D%EC%82%AC%EC%A7%84_%EA%B6%8C%EB%8F%99%EC%B2%A0.jpg) 1=틀(박스) 메인 컷=작업실에서 이태현 화백=사진 권동철.jpg Artist Lee Tae Hyun posed in the studio | |
| Born | December 29, 1940 Yecheon-eup, Gyeongsangbuk-do, South Korea |
| 🏳️ Nationality | South Korea |
| 💼 Occupation | |
| Known for | Korean Painter (Space) |
| Twitter= | |
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Lee Tae Hyun(李泰鉉, December 29, 1940-) is a South Korean painter who has been working of art in planar space the Samra Mansang(森羅萬象) and cosmic phenomena. In Eastern philosophy(Asian philosophy), Samra Mansang(森羅萬象) refers to the interdependence of all things in existence, including human beings, with truth, the world, and the phenomena of cosmic operations.
Life[edit]
On December 29, 1940, he was born in Yecheon-eup, Gyeongsangbuk-do, South Korea, among his father Lee Kyu-mok(1920-1992), mother Mother Kim Wolsoon(1918-2008), the eldest of 4 boys and 5 girls. He is the 37th generation grandson of Gyeongju Lee, a Korean surname whose family headquarters are in Gyeongju, Gyeongsangbuk-do, South Korea. He grew up in a wealthy family with no shortage of money. He graduated from Yecheon Elementary School in 1953, Yecheon Middle School in 56, and Andong National Sabeomhaggyo in 59.
Hongik University, which has produced many famous Korean painters, was founded on April 25, 1946, as Hongmoon-daehakgwan (홍문대학관). Lee Tae Hyun entered the College of Fine Arts at Hongik University in 1959. Yecheon, the hometown of Lee Tae Hyun, has a strong Confucian tradition, and children are encouraged to study law or education. Lee Tae Hyun's decision to major in art was strongly opposed by his father. However, her mother was able to enroll her in college with the help of her uncle. But after he went off to college, his father made sure he was fully supported in his studies.
He lived through the April Revolution, an anti-dictatorship struggle and revolution in 1960 during his sophomore year of college and The May 16 military coup d'état in 1961 during his junior year.
He was coached by Lee Chong-Woo (1899-1979), Kim Hwan-ki (1913-1974), Ree Pong-sang (1916–1970), Son Eung-sung (1916-1979), Lee Jong-mu(1916-2003), Kim Souck-chin(1931-) during his university studies.
In particular, Professor Kim Hwan-ki's authorial attitude of "You have to keep drawing without stopping" and "Your approach to drawing should always be one of purity" and Professor Pongsang Ree's "He closely observed each student's individuality and guided them to express their conversational skills." have been a great guide throughout his life.
Lee Tae Hyun graduated from Hongik University, Department of Painting, Faculty of Fine Arts in 1963 and Kyung Hee University, Graduate School of Education in 1982.
As an educator, Lee Tae Hyun served as a professor at Seowon University's College of fine Arts (1985-2006) and served as the Director of the Institute of Arts and Culture and the dean of the College of Fine Arts. He is an honorary professor at Seowon University of college of fine Arts . In December 1970, Lee Tae-hyun married his lifelong partner Woo Young-hee (1948~) and had three daughters.
Modern Art movement[edit]
Artist Lee Tae-hyun, along with Hongik University's art students Kim Yong-nam, Kim Young-ja, Kim Sang-ryeong, Moon Bock-cheol, Suk Ran-hi, Choi Boong-hyeon, Hwang Il-ji, Seol Young-jo, launched the "The 1st ‘Zero’ Group Show(1962)" Creation Exhibition held at the National Library Gallery from June 2–8, 1962. They were the generation who sympathized with the hot abstract movement that broke out in the early 60s. However, after the inaugural exhibition, the members were scattered as they graduated, and their activities were suspended for a while.
The year '67 is very important in the history of Korean contemporary art, and the 'Contemporary Art Experiment Exhibition' (Korean Information Center) was held in the summer of that year, and the 'Union Exhibition of Korean Young Artists' was held in the 1st to 3rd Gallery of the Korean Information Center in December. Lee Tae-hyun participated in both of these exhibitions and announced "Life Ⅱ (67)" with industrial gloves arranged on red plywood and "Life Ⅰ (67)" with military backpacks and gas masks installed as an object installation on yellow plywood.
"It will be a work that reflects the economic and political emotion in the modern age, along with an attempt to find the necessity of art in the field of life. Perhaps it should be said that it is an important work in art history in that Korean modern painting is the first attempt to introduce objects directly away from the plane..As such, Lee was at the center of l'art d'avant-garde of Korean Contemporary Art, passing through Informel, an artistic movement that sought to express the ‘ethnicity of Koreans’ after the Korean War (June 25, 1950 – July 27, 1953), and NeoDadaism, which embraced symbols and objects on the canvas.[1]” “At that time, Lee Tae Hyun's work developed and showed a bold experimental method of overcoming the phenomenon. These exhibitions are evaluated for their importance as an opportunity to open a new era, and it goes without saying that Lee Tae Hyun's activities should also be understood in the solidarity of an awareness of the times.[2]”
In 1972, Lee Tae Hyun showed on exhibition the 1st Independents Exhibition (National Museum of Modem Art), hosted by the Korea Avant-Garde Association (A.G.), 1st Seoul Biennale (National Museum of Modem Art, 74), the founding exhibition of the MUHANDAE Association Exhibition(Fine Art Center Gallery, Seoul, 74), the Daegu Contemporary Art Festival (74), and the Seoul Contemporary Art Festival (75).
Modernism trends black-and-white contrasting lines (1970–1985)[edit]
The 1970s ‘Labyrinth’series is based on pattern and repetition, and by the mid-century, the modernist tendency toward illusion. Enter the 1980s, and the screen reveals a sharp filigree that embraces monotony but aesthetic values. “The bands of color that begin to reveal their structure as monophonic filigree, like flashes of intense light, settle into horizontal, vertical, and oblique connections. In this work from the early 1980s, the artist seems to be indirectly expressing a very clear tension between light and darkness, the relationship between the opposite phenomena of black and white, which is further clarified through the ‘opening’ of the space ‘darkness’, which is free from external influences.[3]”
“In addition, the spatial structure inherent in Lee Tae Hyun work realizes the aesthetic source of his unique concept of equilibrium through the foundation of strict order. The spatial structure of the screen is also being interpreted in abstract and symbolic terms, rather than in perceptual and phenomenal terms.[4]”
Biological organisms motility and symbols (1986 – c. 1994년)[edit]
Since the mid-to-late 1980s, Lee Tae Hyun work has exhibited an energetic, kinetic quality that embraces concentric patterns of infinite cycles and symbols composed of continuous forms “The energy of a circle can be narrowed to the center. It can also be dispersed and diffused outward. Lee Tae Hyun uses the movement of the circle to apply the ‘erase’ method little by little. This means internalizing not only existence, but also norms, systems, and even phenomena on your own canvas. It refers to a shift from the ‘unnatural’ of an unnatural ritualistic act to a ‘random’ execution that is not embellished or meaningful in any subjective way. It is a world in which the laws of creation, a concept that demands the fundamental problem of movement and change in all of nature, and annihilation, the disappearance of all things in the universe, are fulfilled on his screen as an effect of contrast, an erasure of traces.[5]”
“The screen arranges the gradient’s masses inside the geometry in a dizzying dance in irregular directions. It also shows the state of different shapes, such as the short bars represented by the knife scratches, combining freely rather than in a regular pattern. This reveals a significant modification of the way Lee Tae Hyun previous perceptions of the world of the artist’s work. Here we see a new approach being explored in depth.[6]”
Natural and artificial contingency and geometry (1995 – c. 2002)[edit]
From the mid-1990s to the early 2000s, Lee's work exploits the immiscible disposition of water and oil. It's marbling, a crafting technique that reveals accidental effects. So the background of the screen is accidental and nonconclusive. The placement of ‘color bars’ on top of such marbling is characteristic of Lee's work from this period. “The color bars have in common a very mechanical and artificial feel. And this is very different and contrasting from the natural expression marbling of the background. What is the reason for this contrast between the color bar and the background? In the words of artist Lee Tae Hyun, it is the contrast between nature and artifice. In other words, it seeks to provoke thought about the tension in the nature of two objects.[7]”
“The screen created by the marbling is a very black, dark space where nothing is determined. It is as if we are looking at the very beginning of space, a pure chaotic space where nothing is fixed, and the once again that is lie one upon another or overlap on it is originally from mathematics. It means reason and order, logic and concepts.[8]”
Illusion and existence and the real Eastern view of the universe (2003–present)[edit]
By 2003, Lee's works embrace the symbol of the universe floating in the atmosphere and reflect the order of nature. At the center of it all is the Eastern view of the universe, called Zhou Yi(周易). The Zhou Yi is one of the scriptures of Ru classicism, a religious and philosophical system unique to East Asia that describes the principles of change in the universe. The basic unit of the Zhou Yi is the hexagram(卦 guà). Zhou Yi consists of 64 hexagram. Also known as ‘I Ching(易經).’ Lee Tae Hyun painting is based on these phexagram.
The short black lines in the figure are quotes from the 8 hexagram. The 8 hexagram are have the following meanings: ☰ (Heaven), ☱ (Lake), ☲ (Flame), ☳ (Thunder), ☴ (Wind), ☵ (Water), ☶ (Mountain), and ☷ (Earth). Lee Tae Hyun's is a series of small dots and strokes that float like buoys, connecting to each other to form a band. It is more than a mere quotation; it is the induction of the Eastern system of thought into the space of the plane.[9]”
“This time, the issue of side is being raised. By being divided into several times by tape operation, the rectangular shapes overlap on the original base. Although his experiments have undergone a rather complex transformation process, they are very logical and are an extension of the early formative experiments in that they are proof of the relationship between the illusion and reality.[10]”
Artworks and painters' assessment[edit]
"Lee Tae Hyun tries to interpret his artistic world on a flat surface. He is also constantly obsessed with and challenged by the neutrality of painting on a flat surface. We will identify this assertion with his work.[11]”
“From the early 1970s to the present, the overall dominant pictorial spirit of Lee Tae Hyun’s paintings can be seen as a stoic restraint of color and a strict logic of composition. It’s a minimalist orientation in spirit. At the same time, it reflects the fact that monotone is a consistent direction in terms of methodology.[12]”
A major history[edit]
- 1940 Born in Yecheon, Kyungsangbuk-do, Korea
- 1959 Graduated from National Andong Sabeomhaggyo
- 1963 Graduated from the Dept, of Painting, College of Fine Arts, Hong-ik Univ, Seoul.
- 1982 Graduated from the Graduate School of Education, Kyung-Hee University, Seoul.
- 1985~2006 Professor of Painting, Seowon University Faculty of Art.
- 1978 Grand Prize at the 14th Korean Fine Art Association Exhibition.
- 1980 The 29th National Art Exhibition Special Selection
- 1981 The 30th National Art Exhibition Special Selection
- 2003 Visiting research professor at Kyoto Seika University (Japan)
- 2006 Distinguished the Order of Service Merit(Green Stripes)
- 2010~2012 Served as the first alumni president of Hong-ik University, Department of Painting, College of Fine Arts
- 2012 Culture and Arts Promotion Award(Gyeonggi-do)
- 2019 Korea Artist Award Grand Prize(Korean Fine Art Association)
Solo and group exhibitions[edit]
Solo exhibitions
- 2022 Tong-in Gallery(Seoul)
- 2021 Youngeun Museum(Gwangju-City)
- 2019 Chosun Ilbo Museum of Art(Seoul)
- 2014 Gallery Grida(Seoul)
- 2011 Hangaram Gallery MANIF(Seoul)
- 2010 Hanwon Museum(Seoul)
- 2006 Shin Museum of Art(Cheongju)
- 2006 Insa Art Center(Seoul)
- 2003 Chuwa Gallery(Tokyo)
- 2001 Cheong ju Art Center(Cheongju)
- 2000 Chosun Gallery(Seoul)
- 1998 Jongro Gallery(Seoul)
- 1995 Jongro Gallery(Seoul)
- 1991 Kumho Museum of Art(Seoul)
- 1989 Baiksong Gallery(Seoul)
- 1984 KwanHoon Gallery(Seoul)
- 1980 Fine Arts Gallery(K.C.A.F, Seoul)
Major group exhibitions
- 1962 The 1st ‘Zero’ Group Show(Gallery National Library, Seoul).
- 1967 The Experimental Exhibition of Contemporary Art(Korean Information Center, Seoul). Union Exhibition of Korean Young Artist's(Korean Information Center, Seoul).
- 1972 Independents Exhibition(National Museum of Modem Art, Seoul).
- 1973 The 8Members Exhibition of Prints(Hankuk Art Gallery, Seoul).
- 1974 1st Daegu Contemporary Art Festival(KEIMYUNG University Museums).1st Seoul Biennale(Held by A.G National Museum of Modern Art, Seoul). Seoul Biennale (National Museum of Modem Art, Seoul).
- 1976 MUHANDAE Association Exhibition(Fine Art Center Gallery, Seoul).
- 1978 The 4th India Triennale(New Delhi).
- 1979 Ecole de Seoul(National Museum of Modern Art, Seoul). Korea-Venezuela Artists Exhibition(Venezuela).
- 1980 Korean Print & Drawing Grand Exhibition(Projected by National Museum of Modern Art, Seoul). The 7th Korean Art GRAD-PRIX Exhibition(Held by Hankuk Daily News, Seoul).
- 1982 The Phase of Korean Contemporary Art (Kyoto Municipal art Museum, Kyoto).
- 1983~1992 Invitation to Contemporary Art Exhibition (National Museum of Contemporary Art)
- 1989 Korean Contemporary Art Situation of 80's (Gallery Dongsoog Art Center, Seoul).
- 1990 Korean Art Today's Situation Exhibition (Seoul to commemorate the opening of the Seoul Arts Center Art Museum). 1st Chungbuk Recommended Artist Invitation Exhibition, (Cheongju National Museum)
- 1991 A Groping for the Identity of Korean Contemporary art 2-The Art in the ‘Reduction’ and ‘Expansion’Period(Hanwon Museum, Seoul).
- 1994 94 Seoul Art Exhibition(Seoul Metropolitan Museum of Art, Seoul).
- 1997 200 Artists Exhibition(SUN Gallery, Seoul).
- 1998 2nd Kim Bok Jin Fine Art Festival(Chongju Art Center, Chongju).
- 2001 Daechung Contemporary Art Festival(National Museum of Chongju). Salon de la Nationale des Beaux Arts(Carrousel du Louvre, Paris).
- 2003 Hommage Park Soo Kun(Park Soo Kun Museum, Yangku).
- 2020 The Fiftieth Anniversary Exhibition of MMCA Korea, The Square: Art and Society in Korea 1900~2019.(1950~2019, MMCA Gwacheon).
Museum collections[edit]
Leeum, Samsung Museum of Art(Seoul), Contemporary Museum of Hongik University(Seoul), Gidang Art Museum(Cheju), Seoul Museum of Art(Seoul), National Museum of Modern and Contemporary Art(Seoul), Park Soo Keun Museum(Yanggu), Whanki Museum(Seoul), Hanwon Museum of Art(Seoul).
References[edit]
- ↑ Kho Chunghwan Art Critic-Build the holy place a sense of consciousness within your inner self, 2021.
- ↑ Oh Kwang Su Art Critic-A space of order and creation, 1998.
- ↑ Kim In Hwan Art Critic-Gradation from ‘darkness’ to ‘open’, 1989.
- ↑ Seo Young Hee Art History-Conceptual Space Structured Space
- ↑ Kim In Hwan Art Critic-Gradation from ‘darkness’ to ‘open’, 1989.
- ↑ Kim Bok Young Art Critic-Space as disassemble and creation, 1991.
- ↑ Seong Rok Seo Art Critic-Contrast between natural and artificiality, 1995.
- ↑ Kho Chunghwan Art Critic-Build the holy place a sense of consciousness within your inner self, 2021.
- ↑ Oh Kwang Su Art Critic-Creation and Order, 2006.
- ↑ Yoon Jinseop Art Critic-Demonstrate the relationship between illusion and exist in reality, 2000.
- ↑ Kim In Hwan Art Critic-Gradation from ‘darkness’ to ‘open’, 1989.
- ↑ Oh Kwang Su Art Critic-Creation and Order, 2006
External links[edit]
- Western Painter Lee Tae Hyun‥The phenomenology of innumerable the spirit of perseverance.
- Interview, Western Painter Lee Tae Hyun‥“The infinite challenge of right path is the Painter’s way”
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