407:(Nun'gwa Munhwa, 눈과 문화) with aims to expand the concept of the cultural arts, promote accurate writing and creative reading, emphasize the necessity for humanities-based interdisciplinary study, foster intellectual engagement with the quickly-developing visual and popular culture, and offer a platform at an international level for information and intellectual exchange. Notably, the periodical was to have in place a theme for an issue at least 6 months in advance of its publication, and its contributors, generously compensated, were responsible to complete and deliver their manuscripts at least 3 months prior to the publishing date. Each issue, whose theme and content were not to be intervened by the publisher or sponsoring organization, allotted an equal amount of pages between contemporary arts and visual culture. An English issue was also to be printed every year. Although the publication ended up unrealized due to funding difficulties, it has been noted for its progressive format, content, and editorial direction.
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Minor Injury were to find ways to resist the capitalist art world. Located at 1073 Manhattan Ave, Minor Injury sought out its audience amongst
Greenpoint's residents, who were predominantly Polish immigrants, and operated by volunteers to minimize its dependency on outside funding. Its mission statement also specified its goals to work with artists who were "racial, cultural, political and social minorities, or whose work reflects a related concern" or "recent immigrants from troubled or developing countries." These criteria were not set to simply promote artists of specific identities but to present the minor, social, political, and personal voices that were marginalized or excluded from the mainstream. As an attempt to reject the commercial tendency of treating artists as potential celebrities and instead believing they should to be treated as "common people or the residents next door," Bahc himself curated shows at Minor Injury, such as
313:(1990–1994) with his close associates, artist Sung Ho Choi and filmmaker Hye-jung Park. SEORO, meaning "each other" or "one another" in Korean, connected artists of Korean heritage who were either US-born or recent immigrants, whose numbers had sharply increased since the South Korean government relaxed its regulations on studying abroad by the late 1980s. Among the growing Korean artist's community in New York, Bahc, Sung Ho Choi, as well as Yong Soon Min were among those instrumental in organizing exhibitions, symposia, and programs that discussed what constituted as Korean American art or Korean art in the US. The 1988 symposium "Korean Art Today" held at the Asian American Arts Centre and
363:(1994), rendering a figure sitting upon a divided table, has been considered his final point in addressing the continued yet futile search for one's identity. Nevertheless, all of such works attested to Bahc's exposure to postcolonial, feminist, and postmodern theories, as well as to the time's raging identity politics and multiculturalism during his time in New York. Bahc did not show his own work at Minor Injury but instead in shows organized by other alternative exhibition spaces, cultural organizations, and artist collectives. Many of those engaged in discussions on the social and cultural landscape of marginalized communities, such as
427:. Bahc's first course, taught in early 1995, was titled "Drawing Concepts," in which students explored drawing as an artistic method for visually rendering and conveying ideas. The course introduced the practice of keeping daybooks, also a core concept at Parsons, which trained students to visualize their thoughts by habitual sketching and writing. Bahc's emphasis on drawing as part of the core curriculum at SADI was also to encourage its students to move away from their college prep training and instead learn to foster self-expression. Bahc later went on to teach similar versions of his drawing course at
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Seoul, his work shifted closer towards sculptural, installation pieces. For such works, making drawings during his working process helped distill the conceptual framework and gauge the final effect of his works in place of the exhibition's physical space. Often utilizing materials that were commonplace or easily found in construction or manufacturing sites, such as cement, wood, vinyl, and
Styrofoam. Bahc's work produced in Korea was no longer immersed in American identity politics but retained a focus on institutionalized systems. For example,
383:(가나아트). His twenty-odd articles largely discussed 1) American multiculturalism, artists of Korean heritage and other ethnic minority groups, 2) spotlighted artists in the American contemporary art scene, and 3) postmodernism in relation to Korea. Bahc's interest in writing as well as critical discourse can be traced back to 1987. Having set up a study group among his close Korean associates, the members took turns in selecting, translating, and discussing texts, such as
351:(1990) are examples in which Bahc put together a kitsch take on Korean traditional calligraphy with Western vernacular images, teasing out underlying linguistic codes and sociopolitical power structures. By his later years in New York, Bahc no longer made use of explicit juxtapositions between the visual and linguistic vocabulary of Korea and the US. Rather, culturally charged meanings were deliberately made unapparent. In
222:(1984) was performed after attending a Thanksgiving dinner, fasting for three days, and crossing the Brooklyn Bridge into Manhattan, as he dragged behind him a plastic-molded rice pot by a rope tied around his neck. At the time of the performance, Bahc takes the name "Mo (모, 某)," a Korean term used to address a person when their first name is unknown or undisclosed.
321:, 월간미술) are some of the major precursory events involving Bahc that prompted the formation of SEORO. To facilitate communication and cross-cultural learning between Korean American artists of various immigration histories, SEORO ran a quarterly newsletter SEORO Bulletin, later named as SEORO SEORO. Bahc led SEORO's proposal of and participation in the exhibition
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contributions have been considered pivotal to the development of the Korean contemporary art scene, as
Western art had only been introduced to Korea through Japanese or American sources that remained untranslated or mistranslated. Between 1989 and 1994, Bahc submitted exhibition reviews and articles to some of the major art magazines in Korea, such as
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Bahc was invited to teach at the newly opening
Samsung Art and Design Institute (SADI), while he and curator Young-Chul Lee had been preparing a residency program in New York for Korean artists. Following the project's dissolution, which had been named the New York Inter Art Program, Bahc returned to
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In New York, he was noted as the founder and director of Minor Injury, an alternative space in
Greenpoint, Brooklyn, and a co-founder of SEORO Korean Cultural Network, a Korean American artists' network that bridged Korean American artists of various immigration backgrounds. His works produced in New
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Bahc saw many of the alternative spaces of the time to have assimilated into the capitalist system by " just as nurseries for the commercial dealers," pointing out that many were celebrating their accomplishments by naming artists who have since become respected by the major art scene. His aims for
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Such emphasis on drawing and note-taking was directly sourced from Bahc's own artistic practices. Bahc not only kept a vigorous note-taking habit since his time as a graduate student but also produced highly detailed and refined drawings. By the mid-1990s, around Bahc's relocation from New York to
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His time in Korea is said to have been a prolific period for Bahc as an artist, producing works beyond the realm of identity politics. Bahc's interested in reforming Korea's art education system also led him to lecture drawing at SADI, among other universities. Bahc has been credited as a critical
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in Seoul, Korea (August 23–September 23, 1994), featured Korean artists involved in the
Minjung Art movement alongside Korean American artists exploring identities shaped by immigration and American multiculturalism, aiming to project contemporaneous, multidimensional Korean identities and art.
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While actively working in the US, Bahc kept engaged with the Korean contemporary art scene as well. Bahc was among the artists and art students who acted as overseas correspondents while studying abroad during the late 1980s and early 1990s, sending art-related news to outlets in Korea. Their
270:(1987), that eliminated the traditional selection process and allowed exhibiting the works of those without professional art education, including children. News about Minor Injury as well as shows and public events taking place in the Northern Brooklyn area was shared through its newsletter,
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in 1967. Bahc's chronic health issues posed difficulties for him attending high school, especially participating in the military training that was compulsory at the time. After dropping out, Bahc took and passed the Korean High School
Graduation Equivalency Examination, known in Korean as
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While leading Minor Injury and SEORO, Bahc's curating and organizational work, Bahc's earlier works produced in New York show a strong tendency to address his Korean identity within the
American society and, thus, directly respond to social issues arising from racial tensions.
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Believing in the need for an alternative model of art education to help advance Korean art, Bahc contributed much to the formation of SADI's education system, curriculum, as well as teaching methods that largely sought after and tailored those of the partnered
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in 1997. Both of the translated titles, which had each been written as a primer for cultural studies and for general interest, became widely read and taught at Korean universities, overlapping with Bahc's significant interest in teaching.
234:, as did many young artists who were attracted to the area for its cheap rent prior to the area's gentrification. There he renovates what was previously a warehouse into studio spaces with fellow Korean artists and Pratt Institute alumni
656:, October 27–November 23, 2005, the University Art Gallery of University of California, Irvine. Curated by Yong Soon Min, realizing a mixed media installation work he detailed in his notes prior to his death.
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He went by three first names during his lifetime; while Cheol-ho (철호, 哲熇) was his legal name, he adopted the name Mo (모, 某) during his time in New York, which he changed to Yiso (이소, 異素) when he returned to
242:. It is also in Greenpoint where he co-founds the alternative art space Minor Injury in 1985, running it with co-founder Sam Binkley and later co-director Dave Hornor until the end of 1989. His interest in
144:. Both of the adopted names indicate his self-identification of being displaced or on the periphery, which he had hoped to be a position of privilege "with more freedom to do something unexpected."
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York reflect his engagement with the time's political and cultural movement addressing the systemic marginalization of minority groups and questioning issues surrounding race and identity.
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Bahc's interests in writing and translating art criticism persisted during his time in Korea. Between 1995 and 1996, Bahc attempted to establish a periodical with the planned title of
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367:. While Bahc willingly participated in such projects, he was nonetheless aware of the fact that they were the only opportunities available to him, an artist from the Third World.
443:(2001) pointed out the gap between the work's given titles, which designated the work to be by a widely recognized measuring unit and the installed work's actual measurements.
293:(March 14–April 12, 1987), curated by independent curator Hyuk Um and artist Boc Su Jung. The latter is recognized as the first occasion a US audience was introduced to
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at the Alpine
Gallery, as well as the 1989 round table discussion "A Conversation on the Reality of Korean Art in New York" hosted by a major Korean art magazine
1116:"The Statement of Minor Injury," 1985. Bahc Yiso Collection, National Museum of Modern and Contemporary Art, Korea's Art Archive. Code MC2014.03/IIIa001/0001.
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Bahc's translation work, on the other hand, was successful in terms of publication and circulation within Korea. His translations of John Storey's 1993 book
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Seoul, Korea in 1994. Bahc adopted the name "Yiso (이소, 異素)," meaning unfamiliar and plain, and began using it as his artist name officially by 1998.
1351:, edited by Tae-gun Im and National Museum of Modern and Contemporary Art, Korea, 283–327. Kyŏnggi-do Kwach'ŏn-si: Kungnip Hyŏndae Misulgwan, 2020.
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While teaching, translating, producing as well as exhibiting his works prolifically, Bahc died of a heart attack on 26 April 2004 at the age of 47.
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1050:, edited by Tae-gun Im and National Museum of Modern and Contemporary Art, Korea, 22-29. Kyŏnggi-do Kwach'ŏn-si: Kungnip Hyŏndae Misulgwan, 2020.
898:, edited by Tae-gun Im and National Museum of Modern and Contemporary Art, Korea, 22-29. Kyŏnggi-do Kwach'ŏn-si: Kungnip Hyŏndae Misulgwan, 2020.
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edited by Tae-gun Im and
National Museum of Modern and Contemporary Art, Korea, 43–60. Kyŏnggi-do Kwach'ŏn-si: Kungnip Hyŏndae Misulgwan, 2020.
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edited by Tae-gun Im and National Museum of Modern and Contemporary Art, Korea, 6–19. Kyŏnggi-do Kwach'ŏn-si: Kungnip Hyŏndae Misulgwan, 2020.
325:, which has been considered the most notable accomplishment made by the Korean Cultural Network. The exhibition, which was first presented at
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Lippard, Lucy R. "Tribute Contribution to Fallayavada: Bahc Yiso Project and Tribute," University of California, Irvine, 2005. 10. 27-11. 23.
297:, after its initial showing at A Space in Toronto in January of the same year. Bahc assisted Hyuk Um and art critic Wan Kyung Sung curating
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359:(1994), neither of the two works' visual imagery nor their titles signify towards its painting materials: coffee, coke, and soy sauce.
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as the youngest to a family of six children and given the name Cheol-ho (철호, 哲熇). Following the promotion of his father who worked for
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1265:, edited by Chung, Yeon Shim, Kimberly Chung, Sunjung Kim, and Keith B. Wagner, 314–333. London: Phaidon, 2020. ISBN 9780714878331.
1245:, edited by Chung, Yeon Shim, Kimberly Chung, Sunjung Kim, and Keith B. Wagner, 158–179. London: Phaidon, 2020. ISBN 9780714878331.
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934:, edited by Chung, Yeon Shim, Kimberly Chung, Sunjung Kim, and Keith B. Wagner, 180–207. London: Phaidon, 2020. ISBN 9780714878331.
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451:(2003) rendered monumental buildings fragile and disreputable, destabilizing their signs of authority, achievements, and ambitions.
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Battenfield, Jackie. "An Interview with Mo Bahc, Director Minor Injury," NAAO Bulletin (March–April, 1988). AAAO Digital Archives.
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Park, Eunyoung. "Beyond Conflict. Toward Collaboration: The Korean American Arts Community in New York. 1980s–1990s."
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952:"Bahc, Mo - Selected Work - artasiamerica - A Digital Archive for Asian / Asian American Contemporary Art History"
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Lee, Sohl. "Exhibiting Minjung Art Abroad: Tokyo, New York, and Pyongyang in the Twilight of the Cold War." In
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Jung, Hunyee, "The Unbearable Lightness of Communication, and Weight of Being: The World of Bahc Mo's Art." In
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301:(September 29–November 5, 1988) at the Artists Space, further garnering attention to the Korean art movement.
1194:, edited by Sunyoung Park, 103–126. Ann Arbor: University of Michigan Press, 2019. ISBN 9780472074129. OCLC
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272:
Word of Mouth: An Events Calendar from the Association of Williamsburgh/Greenpoint Artists and Minor Injury
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was published in 1994, the very same year he returned to Korea, and of Mary Anne Staniszewski's 1995 book
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Moon, Hye Jin. "Choasŏ hanŭn haeya hal il: chedobip'anmisullosŏ pagisoŭi ch'angjang oe hwaltong ." In
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Kim, Honghee. "Bahc Yiso's 'Venice Biennale' and 'World's Top Ten Tallest Structures in 2010'." In
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Chung, Kimberly. "Interrogations of Place: Korean American Art in the Late 1980s and 1990s." In
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figure in Korea's contemporary art scene, especially for introducing the American discourse of
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Alternative art, New York, 1965-1985: A Cultural Politics Book for the Social Text Collective
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Following the closure of Minor Injury, Bahc's interests in Korean art led to the founding of
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Painting and Writing, Hanlim Museum, Dai-jeon. 1998 Defrost, Sunjae Museum of Art, Kyongju.
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136:, was a South Korean visual artist, cultural organizer, curator, theorist, and educator.
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Minor Injury also hosted a number of shows by independent curators and artists, notably
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Woo, Jung-Ah. "Oriental Minority Exotic: Mo Bahc's Search for Korean Postmodernism."
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https://www.x-traonline.org/article/park-sang-yu-aka-mo-bahc-aka-bahc-yiso-1956-2004
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Artpace International Artist Residency Program and Exhibition, San Antonio, TX, 2000
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And He Was Looking for Asia: Alternatives to the Story of Christopher Columbus Today
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Chung, Yeon Shim and Kimberly Chung. "Postmodern New Generation Art in Korea." In
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Revisiting Minjung: New Perspectives on the Cultural History of 1980s South Korea
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during his last semester at Pratt Institute and reading articles written by
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December 22, 2001 – January 7, 2002, Alternative Space Pool, Seoul, Korea
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Min, Yong Soon. "Park Sang Yu, aka Mo Bahc, aka Bahc Yiso (1956-2004)."
201:. In 1982, Bahc moved to New York City to further pursue his studies at
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Kim, Sunjung. "The Turn of the Century: Art in Korea in the 1990s." In
1157:"Review/Art; A Sprinkling of Exhibitions Near Factories and the Water"
978:, edited by Mo Bahc, 56–79. Seoul, Korea: Kŭmho Misulgwan, 1995. OCLC
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Visual Artist Award in Painting, National Endowment for the Arts, 1991
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National Museum of Modern and Contemporary Art, Korea's Art Archive
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Panorama: Journal of the Association of Historians of American Art
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https://naaoarchives.org/2018/09/30/naao-bulletin-march-april-1988
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Fellowship in Painting, New York Foundation of the Arts, NY, 1989
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Korean Honors Scholarship, Korean Embassy, Washington D.C., 1983
564:, 1990, the Center for Art and Culture of Bedford Stuyvesant, NY
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Chung, Yeon Shim. "The Minor Injury (1985–1989) of Bahc Yiso."
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CommuNYCations: Public Mirror: Artists Against Racial Prejudice
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Across the Pacific: Contemporary Korean and Korean American Art
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National Museum of Modern and Contemporary Art (MMCA), Korea
391:'s "Dismantling Modernism, Reinventing Documentary" (1976).
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Lee, Young Chul. "Chŏngoŭi yesulga t'alsogŭi k'omidi ." In
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Hermes Korea Prize for Contemporary Art, Seoul, Korea, 2002
676:, Seoul, Korea. Co-curated by Sunjung Kim and Jung Un Kim.
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The Super Ego Show: A Landmark in the Evolution of Mankind
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The Super Ego Show: A Landmark in the Evolution of Mankind
638:, 1995, Kumho Museum of Art; Gallery Samtuh, Seoul, Korea
585:, February 18–June 12, 1994, Bronx Museum of the Arts, NY
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Korean Art from 1953: Collision, Innovation, Interaction
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Korean Art from 1953: Collision, Innovation, Interaction
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Korean Art from 1953: Collision, Innovation, Interaction
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Min Joong Art: New Movement of Political Art from Korea
1129:. New York: Drawing Center, 2002. ISBN 9780816637935,
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Macdowell Art Colony Residency, Peterborough, NH, 1991
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Yaddo Art Colony Residency, Saratoga Springs, NY, 1990
682:, April 19–June 1, 2014, Artsonje Center, Seoul, Korea
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Your Bright Future: 12 Contemporary Artists from Korea
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Selected exhibitions curated by Bahc at Minor Injury:
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with the Alliance for Asian American Arts and Culture
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Cultural Theory and Popular Culture: An Introduction
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had stemmed from the experience of interning at the
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Upon graduating from Pratt Institute, Bahc moves to
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Mixed blessings: New Art in a Multicultural America
387:'s "Postmodernism and Consumer Society" (1983) and
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542:, October 19–November 10, 1988, Alpine Gallery, NY
516:, September 18–October 18, 1986, Artists Space, NY
1423:Journal of the Association of Western Art History
416:Believing Is Seeing: Creating the Culture of Art
299:Min Joong Art: A New Cultural Moment from Korea
132:, 23 June 1957 – 26 April 2004), also known as
570:, September 13–October 7, 1990, Clocktower, NY
281:(April 30–May 21, 1989), organized by artists
1498:South Korean expatriates in the United States
844:Korea Digital Archives for the Arts (DA-Arts)
602:1st Yokohama Triennale, 2001, Yokohama, Japan
504:Roots to Reality: Asian America in Transition
197:, graduating in 1981, the year following the
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1439:Divine Comedy: A Retrospective of Bahc Yiso,
205:, where he earns an MFA degree in May 1985.
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1445:Seoul: Leeum, Samsung Museum of Art, 2006.
1427:http://www.dbpia.co.kr/Article/NODE07004346
1292:Seoul: Leeum, Samsung Museum of Art, 2006.
1002:Seoul: Leeum, Samsung Museum of Art, 2006.
660:Divine Comedy: A Retrospective of Bahc Yiso
599:, June 13–September 6, 1998, Taipei, Taiwan
654:Fallayavada: Bahc Yiso Project and Tribute
445:World's Top Ten Tallest Structures in 2010
532:, May 20–June 21, extended to July 1988,
431:and Kaywon University of Art and Design.
174:The Republic of Korea National Red Cross
1281:Bahc, Yiso. "Ogak'yŏngŭi chabaek ." In
1226:https://doi.org/10.24926/24716839.11629
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605:50th Venice Biennale, Korean Pavilion,
579:5th Havana Biennial, 1994, Havana, Cuba
481:Not Simple: the Human Emotional Complex
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703:Mo Bahc's Fast After Thanksgiving Day
650:, 2002, Gallery Hyundai, Seoul, Korea
220:Mo Bahc's Fast After Thanksgiving Day
160:by his writing and translation work.
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365:Godzilla Asian American Arts Network
1046:Choi, Sung-ho. "Ch'ŏrhomoiso ." In
550:Storefront for Art and Architecture
264:Ego Show (Self Portrait by Anybody)
1283:T'alsogŭi k'omidi pagiso yujakchŏn
993:T'alsogŭi k'omidi pagiso yujakchŏn
772:World's Top Ten Tallest Structures
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1468:20th-century South Korean artists
1086:Misulsanondan = Art History Forum
874:. New York: Pantheon Books, 1990.
429:Korea National University of Arts
176:, the family moved from Busan to
680:Yiso Bahc: Something for Nothing
617:Los Angeles County Museum of Art
558:, Asian American Arts Centre, NY
506:, October 11–November 24, 1985,
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218:One of his first notable works,
1029:7, no. 2 (Winter 2004): 48-49.
495:, November 12–December 11, 1988
477:, November 20–December 22, 1985
16:South Korean artist (1957–2004)
672:, August 20–October 23, 2011,
642:Artists in Forties: Bahc Yiso,
632:, 1990, Bronx Museum, New York
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1224:7, no. 1 (Spring 2021). doi:
1155:Smith, Roberta (1990-03-23).
688:, July 26–December 16, 2018,
686:Bahc Yiso: Memos and Memories
662:, March 10–May 14, 2006, the
489:, January 10–February 1, 1987
311:SEORO Korean Cultural Network
305:SEORO Korean Cultural Network
244:alternative exhibition spaces
1090:doi:10.14380/AHF.2020.50.323
499:Selected group exhibitions:
520:A Decade of the Marketplace
279:Homeland: A Palestine Quest
254:, artist and co-founder of
214:In New York City: 1982–1994
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1425:45 (August, 2016): 69–95.
670:Yiso Bahc: Lines of Flight
534:Asian American Arts Centre
475:(Self Portrait by Anybody)
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1088:50 (June 2020): 323–354.
754:Big Dipper in Eight Stars
319:Monthly Art (Wolgan Misul
193:Bahc studied painting at
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1493:Hongik University alumni
1391:Pak I-so: kirok kwa kiŏk
1349:Pak I-so: kirok kwa kiŏk
1317:Pak I-so: kirok kwa kiŏk
1313:Pak I-so: kirok kwa kiŏk
1048:Pak I-so: kirok kwa kiŏk
896:Pak I-so: kirok kwa kiŏk
733:Exotic-Minority-Oriental
607:Landscape of Differences
524:Bronx Museum of the Arts
425:Parsons School of Design
379:(Misul Segye, 미술세계) and
349:Exotic-Minority-Oriental
530:Public Art in Chinatown
508:Henry Street Settlement
338:Bahc's work and writing
1488:Pratt Institute alumni
592:, 1997, Gwangju, Korea
588:2nd Gwangju Biennale,
562:The Mosaic of the City
483:, April 19–May 4, 1986
375:(Wolgan Misul, 월간미술),
609:, 2003, Venice, Italy
595:4th Taipei Biennale,
23:, the family name is
1347:"List of Works." In
849:Bach Yiso Collection
760:Untitled (One Pyong)
441:Untitled (one pyong)
232:Greenpoint, Brooklyn
81:Revised Romanization
894:"Artist's Bio." In
590:Unmapping the Earth
395:In Seoul: 1994–2004
331:Kumho Museum of Art
1161:The New York Times
766:Your Bright Future
715:Capital=Creativity
583:Beyond the Borders
556:CHINA June 4, 1989
1483:People from Busan
956:artasiamerica.org
870:Lippard, Lucy R.
625:Solo exhibitions
548:, November 1988,
195:Hongik University
183:geom-jeong-go-shi
168:Bahc was born in
154:poststructuralism
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95:McCune–Reischauer
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405:Eyes and Culture
385:Fredrick Jameson
361:Homo Identropous
345:Speaking English
199:Gwangju Uprising
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156:or critical
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1478:2004 deaths
1473:1957 births
756:(1997-1999)
717:(1986/1990)
546:Project DMZ
463:Exhibitions
439:(2000) and
373:Monthly Art
355:(1994) and
347:(1990) and
295:Minjung Art
266:(1985) and
142:South Korea
126::
116::
21:Korean name
1462:Categories
1410:1184673082
1365:1184673082
1336:1184673082
1270:1155063660
1250:1155063660
1196:1243072565
1174:2022-04-29
1064:1184673082
980:1104497028
961:2022-04-29
939:1155063660
912:1184673082
859:References
840:Bahc yi so
514:Selections
164:Early life
1450:501414572
1297:501414572
1169:0362-4331
1007:501414572
648:Bahc Yiso
377:Art World
256:Hallwalls
189:Education
110:Bahc Yiso
35:Bahc Yiso
1134:50253087
831:Bahc, Mo
709:Untitled
615:, 2009,
522:, 1990,
472:Ego Show
381:Gana Art
185:(검정고시).
19:In this
1441:155–157
775:in 2010
636:Bahc Mo
357:Trinity
134:Mo Bahc
101:Pak lso
87:Bag lso
1408:
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1315:." In
1167:
1062:
1054:
976:Pak Mo
910:
902:
794:Awards
789:(2004)
783:(2003)
777:(2003)
768:(2002)
762:(2001)
747:(1994)
741:(1994)
735:(1990)
729:(1990)
723:(1988)
711:(1986)
705:(1984)
289:, and
240:Il Lee
209:Career
122:;
114:Korean
41:Hangul
1288:12–25
1027:X-TRA
998:12–25
619:, CA
455:Death
178:Seoul
170:Busan
124:Hanja
57:Hanja
1447:OCLC
1406:OCLC
1398:ISBN
1361:OCLC
1353:ISBN
1332:OCLC
1324:ISBN
1294:OCLC
1267:OCLC
1247:OCLC
1165:ISSN
1131:OCLC
1060:OCLC
1052:ISBN
1004:OCLC
936:OCLC
908:OCLC
900:ISBN
721:Weed
552:, NY
536:, NY
526:, NY
285:and
238:and
26:Park
1404:,
1359:,
1330:,
1058:,
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851:in
842:on
833:on
129:朴異素
119:박이소
48:박이소
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