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525:. This change is viewed by some artists as the signalling of a re-emergence of figuration, and others even say that the reversion to the figurative art is a due course set in the history of art. I think that they are ridiculing its value. It was a lazy way of acknowledging its value. Yes, it is true that ''Art Informel'' has pervaded the art scenery. Supposing that you look at it as a crisis, then this "crisis" stems from the contradiction within the abstractive art, and not from the reappearance of the figurative art. And another indirect reason for the current symptom in the art scene is that many people indiscriminately picked up abstraction.
55:
202:) in 1957, and became one of the main figures in the Korean Art Informel movement along with others in the association. Park sought to conceptually and materially challenge assumptions around painting at the time through his abstract paintings that experimented with texture, color, material, line, and shape. The main focus of his practice for over his last half century was exploring the formal possibilities for painting through an emphasis on process, and deemphasis on artistic intention in his "Écriture" series.
994:"In a grammatical sense, I must say that it is hard to call his work painting, for he is a conscious action painter who tackles curious metal and chemical material and not much real paint, which is too dear for him to use. But to say that action painting like his is recondite, and therefore it is not painting, is like saying that advanced mathematics like differential calculus is not in the field of mathematics.
310:, thus making it possible for Park to return to school in 1952. In order to support himself, Park sold portraits to US soldiers on the street and in restaurants, but did not make enough to feed and house himself. He often slept in empty classrooms, and had to rely on others to buy him meals. He scavenged materials from garbage bins and stole soy sauce packets from Chinese restaurants to paint with.
997:
Seo-Bo never buys normal canvases. Instead, he goes out to a scrap shop in an odd corner of the East Gate second-hand market where he picks up a large patch of used tent canvas. This canvas material is usually full of dust and holes but the price is very reasonable for this artist who can hardly sell
931:
Like artist Kwon Young-woo, Park asserted the necessity of creating work without a predetermined technique or concept in mind, underlining the importance of action and deemphasizing artistic intention. Thus, while he likened his paper works to diaries, they are not expressions of himself. Rather, his
953:
The essence of my art lies in its view of nature. It is based on the perception that regards human as part of nature and upholds man's unification with nature. I always think that we should not put force on nature. This has led me to refuse strong colours but employ white colour and pencils instead.
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It’s like getting water from different sources. Whether it descends from the mountain and gathers in clay jars or cisterns, water always flows naturally and is able to take the shape and form of whatever contains it. Similarly I want to make something appear as clearly and naturally as water. I want
611:
Oh Kwang-su identified as being part of a trend moving away from experimental sculpture and installation to painting characterized by an "absence of image." This shift towards the style that would later be identified as
Dansaekhwa culminated in the 1975 group show "Five Korean Artists, Five Kinds of
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Increasing opportunities to write about foreign artists and travel abroad also compelled Park to take an active role advocating for the promotion of Korean contemporary art on a local and global scale. Park's mentorship of students at Hongik, curation of shows featuring emerging avant-garde artists,
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A painting is silent, but a good painting has compelling voices of silence. With these voices, an action painter must communicate the continuous dichotomy between the desire to give direct expression to a feeling and the desire to create pure harmony, which is a conflict inherent to the development
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describes Park's practice as fundamentally concerned with painting's agency, and guided by a faith that painting is a "perpetually self-renewing medium...whose possibilities are best realized when subjected to particular limitations." She also notes that Park, like many other Korean artists at the
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How does he paint a picture? A maggot in his head bites while he rasps dust off the home-made canvas. Then he needles some pieces of used hemp cloth onto the canvas, cements them, pastes copper or bronze powder, burns the surface with a torch lamp, and then corrodes parts of it with chemicals. The
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Park's position as first the vice chairman (1970–77) and then chairman (1977–1980) of the
International Division of the Korean Fine Arts Association (KFAA) allowed him to organize large-scale exhibitions of experimental art that kickstarted the careers of emerging experimental artists and provided
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for short) had over the Korean art world. Park won prizes at the 1954 and 1955 iterations of the salon. However, Park claimed that by 1956 he had identified elements of "corrupt anti-modernity" and "feudalism" at the salon. As a result, he and artists Kim Chung-seon, Mun Wu-sik, and Kim Young-hwan
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and lines drawn from the top left corner to bottom right corner. According to Park, the repetitive gesture allowed him to become one with nature, and leave physical remnants of this union on a surface. Park experimented with the method for over half a decade, deliberately choosing not to show the
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Upon returning to Seoul, Park began teaching at his alma mater in 1962. Park was promoted to assistant professor in 1964, but resigned in 1967. Living in seclusion, Park developed his "Écriture" series that year after seeing his three-year-old son Seung-ho repeatedly writing and erasing the word
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Park continued promoting and supporting contemporary Korean artists throughout the 1980s, working as commissioner for the 11th Paris
Biennale in 1980, collaborating with critic Lee Kyungsung to curate an exhibition titled "The Art of Contemporary Paper: Korea and Japan" in 1983, and urging the
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in the US that was available in Korea, the artists in the
Contemporary Artists Association spearheaded the Korean Art Informel movement. Park rejected the linkage between the Korean Art Informel movement and its overseas counterpart, but Kim Youngna argues that formal similarities warrant the
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and Mun Haksu whose work was largely informed by artistic trends in Japan. In contrast, the younger generation of artists looked towards the
European and American art worlds. Many of them were also part of the first generation of artists to graduate from art schools established after
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hung a poster with a manifesto condemning the salon at the entrance of their exhibition held in a gallery at the
Dongbang Munhwa Building in May 1956. Park asserts that this marked the beginning of the collective stand avant-garde artist took against the national exhibition.
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Park imbued his works with bursts of color, including bright reds, yellows, greens, blues, and even pastel pinks. Park states that these colors are drawn from the pure beauty of nature, and that he began using them in the hopes they would have a calming effect on viewers.
889:(Korean paper) in the series in the 1980s. Similar to his earlier "Écriture" pieces, Park drew lines using pencil, but added layers of hanji underneath the paint first. He began using other implements like wooden sticks, iron, and his hands, to create the lines.
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time, was caught up in larger discussions of how to define Korean art in distinction to non-Korean art. Park had to explore the possibilities of participating in a larger discourse beyond Korean borders while conveying the specificities of his cultural context.
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result is a complex of material in greyish black, white and on some spots, shimmering red, and this bears an air of mystery that conveys something like the undecipherable signature of a shaman. People complain that paintings like his are hardly understandable.
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By the 1990s, Park shifted to a black and white palette for his "Écriture" series. He drafted sketches using litho crayon, pencil, and correction fluid pen on paper, and then replicated them using hanji paper soaked in water, pencils, and sharp tools.
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on
November 15, 1931. He was the third of eight children to father Park Jaehun and mother Nam Kimae. He was originally named Park Jae-hong, but began using the name Park Seo-bo in 1955 to avoid military conscription. In 1934, his family moved from
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Eager to showcase the abilities of Korean artists to
Parisian audiences, Park persuaded president of the Association of Korean Students in France Shin Youngchul, Lee Il, and Korean Embassy consul Roh Youngchan to meet with the organizers of the
705:'s hermitage). In 1990, thieves stole hundreds of works from his studio, but many of the works were eventually recovered. However, six years later an accidental fire destroyed around 300 artworks, prompting Park to move his studio to
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before graduating in 1955. However, Park never attended the graduation ceremony. In order to avoid the military draft, he changed his name to Park Seo-bo. He was on the run until he won his case against the military on 16 May 1961.
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Park later returned to teach at Hongik, becoming dean of the
Graduate School of Industrial Arts between 1985 and 1986, and dean of the College of Fine Arts from 1986 to 1990. He received an honorary doctorate from Hongik in 2000.
156:: 朴栖甫; 15 November 1931 – 14 October 2023) was a South Korean painter known for his "Écriture" series (1967 onwards), involvement in the Korean Art Informel movement, and particular formal concerns around painting that have led
2036:, exh. cat. (Los Angeles: Blum & Poe, 2014), 118-127, originally published as excerpts from Hikosaka Naoyoshi, Lee Ufan, Park Seobo, Shim Moon-seup, Suga Kishio, and Takamatsu Jirō, "Gendai kaiga no shikisai o megutte,"
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Pure white seemed to have a strong character, so I moderated it to white. To pursue a relationship between the wet white paint and pencil, I repeat this act until they do not dominate the other with their own character.
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Critic
Toshiaki Minemura identifies the essential nature of Park's work as "structured semitransparency" that is both a formal quality of his paintings, and fundamental principal in the process of making each work.
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The Jeunes Peintres du Monde à Paris: The 1st Prize (Sarcelles-Themed Competition), National Committee of I.A.A., Paris, France. Awards in the Visual Arts 10, Hirshhorn Museum and Sculpture Garden, Washington,D.C,
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and work at the Korean Fine Arts Association (KFFA) played a crucial role in supporting generations of contemporary Korean artists. His work at the KFFA in particular was central to the development of Dansaekhwa.
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As a child, Park loved drawing. He spent much of his time copying paintings by Korean artists like Kim Eun-ho. Although his father wanted him to study law, Park insisted on continuing to pursue art in school.
439:, etc., the first of the seven is now the only surviving work from the exhibition. Kim Youngna identifies the series painted in 1957 as a marker of a major shift in Park's style away from representation.
1407:"A Table of Korean Contemporary Art: II. Dansaekhwa - Park Seo-Bo, Yun Hyong-Keun, Lee Kang So, Lee U Fan, Lee Dong Youb, Chung Sang Hwa, Chung Chang-Sub, Ha Chong-Hyun," Leeahn Gallery, Daegu, Korea.
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In response to a question on how the fact that Park let his assistants make the work connects to Park's ideas on artistic intention, Park drew an analogy between artistic creation and flowing water:
833:(1970) featured a row of pieces of clothing molded around a missing human figure, and a coffin with a body buried under sand. However, the work was censored for supposedly being anti-government.
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Special Exhibition Celebrating the 130th Anniversary of Korea-France Diplomatic Ties "Part II. Exchange Exhibition of Korean Resident Artists in France," Youngeun Museum, Gwangju, Korea.
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Critic and curator Shinyoung Chung argues that while Park's later color-filled work is refreshingly up-to-date, his newer paintings lack the meaning and resonance of earlier iterations.
295:. He narrowly survived the war, dealing with the abrupt passing of his father, drafts both by North Korean and South Korean forces, and a long winter spent evacuating from his hometown
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Art Basel '17 Miami, Kukje Gallery (Seoul) & Tokyo Gallery + BTAP (Tokyo) & Galerie Perrotin Paris) & White Cube (London), Miami Beach Convention Center, Florida, USA.
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and urge them to allow Korean artists to participate. They were successful in their efforts, and made it possible for Korea to participate in its first international exhibition.
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While he was there, he critically examined the Parisian art world, and reported on exhibitions. Park described for Korean readers the dominance of Informel in Paris at the time:
2032:"On Color in Contemporary Painting: A Roundtable Discussion with Park Seobo, Shim Moon-seup, Takamatsu Jirō, Suga Kishio, Hikosaka Naoyoshi, and Lee Ufan (moderator)," in
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As a result, Park went to Paris again in 1963 as part of the group representing Korea at the 3rd Paris Biennale. He was also one of the Korean representatives for the 8th
355:, Jang Seong-sun, Ha In-doo, and Kim Seo-bong. Art historian Kim Youngna identifies the group as the second generation of the Korean avant-garde, preceded by artists like
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766:)" series utilizing a darker palette. Park used palette knives and combs to carve into layers of black and brown pigment, and sometimes added linen to the canvases.
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As a second-year student, he changed his major to Western Painting because none of his professors from the department of Korean Painting remained. He studied under
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At the Lee Bongsang Painting Institute he met a younger painting student named Yoon Myeong-Sook, and the two married in 1958. They had three children together.
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claims that Dansaekhwa would have been impossible without Park's mediation between institutions and artists to allocate resources from the former to the latter.
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789:)" series emerged out of his interest in outer space, and desire to experiment with spray-paint and bright colors, often utilizing the Korean color palette
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For the 6th iteration, Park suggested that the association push the government to support Korean artists who want to exhibit abroad, and raise funds for a
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Art Basel '18, Kukje Gallery (Seoul) & Galerie Perrotin (Paris) & Tokyo Gallery + BTAP (Tokyo) & Natalie Seroussi (Paris), Basel, Switzerland.
725:, Korea (MMCA), the first in 1991 titled "Park Seo-Bo's Painting: Its Forty Years," and the second titled "Park Seo-Bo: The Untiring Endeavorer" in 2019.
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After founding the Seo-bo Art and Cultural Foundation in 1994, Park passed on leadership to his son in 2014. He had his most recent retrospective at the
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The 64th National Academy of Arts of the Republic of Korea Award (Fine Art Sector), the National Academy of Arts, Republic of Korea (NAA), Seoul, Korea.
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White," which curators and art historians often credit as the first major exhibition of Dansaekhwa. Park was one of five artists whose work was shown.
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465:. Park continued to advocate for the expansion of the Korean art world beyond its national borders when he was able to travel abroad himself.
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Park often employed varying shades of white in his work, eschewing pure white hues and strong colors that impose the artist's will on nature:
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to control my energy as a means of generating ideas and I wish, through my own experience, to make my work without any specific intention.
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Park believed that the philosophical underpinnings of his work distinguishes it, along with other Dansaekhwa artworks, from Western art.
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1317:"Special Exhibition Celebrating the 1st Anniversary "His Friends from 1970s to 1980s," Kim Tschang-Yeul Art Museum-Jeju, Jeju, Korea.
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Art Basel Hong Kong 2019, Kukje Gallery (Seoul), White Cube (London), Galerie Perrotin Paris) & Tokyo Gallery (Tokyo), Hong Kong.
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Park submitted seven paintings to the Third Contemporary Exhibition held at Hwashin Gallery from May 15–23, 1958. Serially titled as
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Park Seo-bo with his colleagues at the 3rd Contemporary Exhibition of Contemporary Artists Association in Seoul, South Korea in 1958.
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1305:"Ism of Dansaek: Korean Abstract" (organized by Tokyo Opera City Cultural Foundation), Tokyo Opera City Art Gallery, Tokyo, Japan.
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Art Basel 2019, Kukje Gallery (Seoul), White Cube (London), Galerie Perrotin (Paris), Tokyo Gallery (Tokyo), Basel, Switzerland.
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While he utilized pencil and paint for early works in his series, he later incorporated other tools and materials, including
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Art Basel '18 Hong Kong, Kukje Gallery (Seoul) & Galerie Perrotin (Paris) & Tokyo Gallery + BTAP (Tokyo), Hong Kong.
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movement in Korea, and Park Seo-bo traced the tendency to use a limited color palette in Dansaekhwa back to the movement.
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Park Seo-bo in his junior year at Hongik University in 1953 right after the ceasefire agreement that ended the Korean War.
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The 9th MANIF Grand Prize (Manifestation d'Art Nouveau International et Forum), MANIF organizing Committee, Seoul, Korea
964:
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Art Basel '15 Miami, Kukje Gallery (Seoul) & Galerie Perrotin (Paris), Miami Beach Convention Center, Florida, USA.
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Art Basel '16 Miami, Kukje Gallery (Seoul) & Galerie Perrotin (Paris), Miami Beach Convention Center, Florida, USA.
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Art Basel '18 Miami, Kukje Gallery (Seoul) & Galerie Perrotin (Paris), Miami Beach Convention Center, Florida, USA.
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The 1st Art & Culture Grand-Prize, The Federation of Artistic & Cultural Organizations of Korea, Seoul, Korea.
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Art Basel '17 Hong Kong, Kukje Gallery (Seoul) & Galerie Perrotin (Paris) & Johyun Gallery (Busan), Hong Kong.
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FIAC 2018, Kukje Gallery Seoul) & Galerie Perrotin (Paris) & White Cube (London), Grand Palais, Paris, France.
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Park founded the Seo-bo Art and Cultural Foundation in 1994, and was president until his first son took over in 2014.
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CIGE 2016 (China International Gallery Exposition), Johyun Gallery (Busan), China World Trade Center, Beijing, China.
388:(1957) shown at the Third Contemporary Exhibition in 1958 is now considered the first piece of Korean Informel art.
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The 9th Cultural Day: The Silver Certificate of Merit, Ministry of Culture, Sports & Tourism, Gangleung, Korea.
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FIAC '15, Kukje Gallery (Seoul) & Galerie Perrotin (Paris), Galeries Nationales du Grand Palais, Paris. France.
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Art Basel '15, Kukje Gallery (Seoul) & Galerie Perrotin (Paris) & Blum & Poe (LA), Basel, Switzerland.
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Art Basel '16, Kukje Gallery (Seoul) & Galerie Perrotin (Paris) & White Cube (London), Basel, Switzerland.
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KIAF '18 (Korean International Art Fair), Kukje Gallery (Seoul) & Johyun Gallery (Busan), COEX, Seoul, Korea.
795:(white, black, blue, yellow, and red). Some works in the series features faceless dressed figures reminiscent of
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1327:"KM 9346 La Création Artistique Coréenne S'invite en Morbihan," Musée Domaine de Kerguéhennec, Morbihan, France.
183:, and surviving the conflict. Much of Park's early work emerged in response to his own experiences at the time.
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Korea Art Award, The Korean Artist's Day Organizing Committee & Korean Fine Art Association, Seoul, Korea.
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Abu Dhabi Art 2015, Kukje Gallery Seoul) & Park Ryu Sook Gallery (Seoul), Abu Dhabi, United Arab Emirates.
454:. Afterwards however, some members of the association critiqued Park, and voted to expel him from the group.
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writing in 1960, describes the unusual qualities of Park's work that defies typical definitions of painting:
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to build a Korean pavilion again in 1988 when he was invited to participate in a special exhibition for the
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hiding under a new name (changed from Park Jae-hong), and ardent critic of the National Art Exhibition (
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and his decision to not seek treatment. He died from lung cancer on 14 October 2023, at the age of 91.
868:(meaning "writing" in French) a few years later after critic Bang Keun Taek suggested the term to him.
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The 12th Lee Donghoon Art Award (Main Prize), Daejeon City & Joongboo Daily News, Daejeon, Korea.
1126:"Park Seo-Bo: The Untiring Endeavorer," National Museum of Modern and Contemporary Art, Seoul, Korea.
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Park stated that this series emerged from his experiences during the Korean War, and introduction to
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626:"Korea" on a gridded sheet. During this time he also began studying classical East Asian philosophy.
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Park was part of the first generation of artists to begin building their careers in the wake of the
2173:, exh cat. (Los Angeles: Blum & Poe, 2014), 140, originally published as "Dansang not'eueseo,"
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the crucial visibility needed for avant-garde artists to enter the international art arena. Artist
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At the moment, the Parisian art scene is saturated with the ''Art Informel'' that was initiated by
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in August 1960, introducing Korean readers to major avant-garde artists in Europe and America like
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1177:"CIGE 2016 (China International Gallery Exposition 2016)," Johyun Gallery (Busan), Beijing, China.
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Park also turned away from the Kujeon by choosing to participate in the Association's exhibitions
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Two museums specifically meant to house Park's work are currently under construction. One is in
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The Association became one of the leading forces challenging the institutional control that the
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Park tried his hand at installation art, displaying work from his "Hereditarius" series at the
1333:"New Beginnings: Between Gesture and Geometry" The George Economou Collection, Athens, Greece.
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334:, and Ha In-doo frequented the institute, collectively becoming known as the "Anguk school."
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The 1st Exceptional Art Award (Creation Sector), Korean Fine Arts Association, Seoul, Korea.
1226:"Marking Time: Process in Minimal Abstraction," Solomon R. Guggenheim Museum, New York, USA.
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By 1970, Park stopped working entirely on both the "Primordialis" and "Hereditarius" series.
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Photographs of Park painting a large canvas for the fourth exhibition held in the museum in
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Park presented part of this series at the "Contemporary Korean Painting" exhibition at the
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The Distinguished Educational Service Medal, Korea Youth Worker Association, Seoul, Korea.
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The Jade Crown of Cultural Medal, Ministry of Culture, Sports & Tourism, Seoul, Korea.
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Awards in the Visual Arts 10, Hirshhorn Museum and Sculpture Garden, Washington,D.C, U.S.A
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The Distinguished Service Medal, Seoul Federation of Teachers' Association, Seoul, Korea.
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Art Basel '16 Hong Kong, Kukje Gallery (Seoul) & Galerie Perrotin (Paris), Hong Kong.
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often emphasize Park's attention to materiality that is not specific to a single medium.
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Art Basel '17, Kukje Gallery (Seoul) & Galerie Perrotin (Paris), Basel, Switzerland.
258:. It was there that his father started to work as a local solicitor out of their house.
1993:
Park Seo-bo, "Cheheomjeok han'guk jeonwi misul (Experiential Korean Avant'Garde Art),"
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in 2019, and there are now two museums dedicated to his work. Park worked and lived in
161:
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Lee Ufan, quoted in "The World of Dansaekhwa: Spirit, Tactility, and Performance," in
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Park joined the Contemporary Artists Association in 1957, which included artists like
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The Proud Hoingik Alumna Award, Hoingik University Alumni Association, Seoul, Korea.
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The Proud Hoingik Alumna Award, Hoingik University Alumni Association, Seoul, Korea.
1264:"Korean Abstract Art: Kim Whanki and Dansaekhwa," Powerlong Museum, Shanghai, China.
1239:
Frieze Los Angeles 2019, Kukje Gallery (Seoul), Paramount Pictures Studies, LA, USA.
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1245:"On Art, Economy and Materiality," Cranbrook Art Museum, Bloomfield Hills, MI, USA.
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Critics have offered a range of non-Korean artists to compare Park with, including
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Upon returning to Korea from Paris in 1961, Park began creating his "Primordialis (
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709:, Seoul. He then commissioned an architect to create a studio and home for him in
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In spite of his father's opposition, Park enrolled at the College of Fine Arts at
2251:, exh. cat. (Seoul: National Museum of Modern and Contemporary Art, 2019), 59–63.
2144:, exh. cat. (Seoul: National Museum of Modern and Contemporary Art, 2019), 85-89.
2115:, exh. cat. (Seoul: National Museum of Modern and Contemporary Art, 2019), 65-70.
1984:, exh. cat. (Seoul: National Museum of Modern and Contemporary Art, 2019), 25-28.
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Taipei Dandai Art & Ideas (Booth E11), Johyun Gallery (Busan), Taipei, Taiwan
2216:
Park Seo-bo, quoted in "Dansaekhwa: Aesthetics of Korean Abstract Painting," in
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Yoon Jin Sup, "The World of Dansaekhwa: Spirit, Tactility, and Performance," in
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Frieze Masters 2018, Kukje Gallery, Gloucester Green - Regents Park, London, UK.
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826:
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1372:"Séoul-Paris-Séoul: Artistes Coréen en France," Musée Cernuschi, Paris, France.
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FIAC '19, Galerie Perrotin (Paris), Kukje Gallery (Seoul), White Cube (London).
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Musée Cernuschi, Musée des Arts de l'Asie de la Ville de Paris, Paris, France.
1351:"Korean Modern & Contemporary Art: 11 Artists," Rho Gallery, Seoul, Korea.
1274:"Korea: Five Artists, Five Hinsek <white>," Tokyo Gallery, Tokyo, Japan.
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that he produced for the joint exhibition "Jeunes Peintres du Monde à Paris."
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2053:(Seoul: Korea Arts Management Service, 2017), 22-23, originally published in
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Park Seo-bo, interview on "The World" (WGBH/BBC Radio, Boston), May 29, 2008.
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The 11th Culture and Art Prize, Ministry of Public Information, Seoul, Korea.
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Park Seo-bo and participants of the first École de Seoul exhibition in 1975.
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1618:
The 2nd Joong-Ang Cultural Grand-Prize, Joong-Ang Daily News, Seoul, Korea.
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The 44th Seoul Metropolitan Cultural Prize, Seoul Government, Seoul, Korea.
1171:"Empty the Mind: The Art of Park Seo-Bo," Tokyo Gallery+BTAP, Tokyo, Japan.
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Park Seo-bo working on an Écriture piece at his Hapjeong-dong studio, 1977.
17:
2124:"Park Seo-Bo: The Godfather of Modern Korean Art," interview by Ines Min,
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Park Seo-bo, "Questionnaire: Park Seo-Bo," trans. Zoe Chun and Erica Min,
1921:, exh. cat. (Seoul: National Museum of Modern and Contemporary Art, 2019).
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KINTEX Spoon Art Show 2016, Keumsan Gallery (Seoul), KINTEX, Ilsan, Korea.
1330:"Dansaekhwa," The Boghossian Foundation - Villa Empain, Brussels, Belgium.
1174:"PARK SEO-BO Ecriture: Black and White," Tina Kim Gallery, New York, USA.
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West Bund Art & Design 2018, Kukje Gallery (Seoul), Shanghai, China.
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as his methodological predecessors, and his favorite type of art as the
777:. Fautrier's paintings reminded Park of his memories of the Korean War.
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Park became particularly interested in the work of Spanish artists like
1180:"Kintex Spoon Art Show," Keumsan Gallery (Seoul), Kintex, Ilsan, Korea.
1145:"修身-朴栖甫個展 (Pursuit of Inner Self)," Art Issue Projects, Taipei, Taiwan.
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in 1980 which he named "Hanseodang" after Hanseoam (Confucian scholar
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connection that art historians and critics have made between the two.
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Kim Yisoon, "Dansaekhwa: Aesthetics of Korean Abstract Painting," in
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Dansaekhwa 1960s 2010s: Primary Documents on Korean Abstract Painting
1971:(Korean Modern Art Series), vol. 20 (Seoul Han'guk Ilbosa, 1979), 90.
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National Medal: "Seokryu" Medal, Ministry of Education, Seoul, Korea.
1345:
Art Stage Jakarta 2016, Galerie Perrotin (Paris), Jakarta, Indonesia,
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from November 28 to December 8, 1958 appeared in newspapers like the
190:, Park was very much on the social and art world periphery as both a
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The Kowoon Cultural Award, Kowoon Cultural Foundation, Seoul, Korea.
291:. However, his freshman year was interrupted by the outbreak of the
1502:
The 28th Suk-Nam Art Prize, Suk-Nam Art Foundation, New York, USA.
1385:"Avant Garde Asia: Lines of Korean Masters," Sotheby's, Hong Kong.
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at the "5th International Youth Artist Exhibition—Asian-Japan." .
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President's Commendation, Ministry of Home Affairs, Seoul, Korea.
1449:
Asia Arts Game Changer Awards Hong Kong, Asia Society, Hong Kong.
1155:"Park Seo-Bo ZIGZAG: Ecriture 1983-1992," White Cube, London, UK.
932:
role as an artist was to allow the material to speak for itself.
1489:
The 4th Special Art Award, Seok Ju Art Foundation, Seoul, Korea.
514:
International Young Painters Exhibition, and stayed for a year.
2111:
Park Seo-bo, quoted in "Park Seo-Bo: Zero Degree Écriture," in
1018:
ideas around the linkage between repetition and enlightenment.
2156:
Park Seo-bo, "Disciple of Nature," interview by H.G. Masters,
198:
for short). Park joined the Contemporary Artists Association (
1794:
The National Museum of Modern and Contemporary Art, Gwacheon.
806:. It was during this trip to Japan that Park met Quak Insik,
607:; Myeongdong Gallery, Seoul, 1973) was one of the shows that
2435:
2406:"Park Seo-Bo, Key Figure in Dansaekhwa Movement, Dies at 91"
2169:
Park Seo-Bo, "From My Notebook of Fragmentary Thoughts," in
1967:"1950 nyeondae ui han'guk misul (Korean Art of the 1950s),"
1742:
1670:
211:
National Museum of Modern and Contemporary Art, Korea (MMCA)
2273:
Toshiaki Minemura, "With the Furrows Beneath the Plow," in
1688:
Hirshhorn Museum and Sculpture Garden, Washington D.C, USA.
773:'s "Otages" series (1942–45) through the Japanese magazine
1980:
Park Youngran, "Park Seo-Bo: The Untiring Endeavorer," in
1076:
In February 2022, Park revealed his advanced diagnosis of
642:
joined the association that Park founded in January 1968.
2312:
Shinyoung Chung, "Park Seo-Bo: Gyeongido Museum of Art,"
129:
2328:"A Towering Figure in South Korean Art Plans His Legacy"
2288:
Korean Art from 1953: Collision, Innovation, Interaction
2218:
Korean Art from 1953: Collision, Innovation, Interaction
1199:"Esquisse-Drawing 1996-2001," Rho Gallery, Seoul, Korea.
1142:"Park Seo-Bo Écriture," Galerie Perrotin, New York, USA.
1139:"Park Seo-Bo Ecriture 1967-1976," White Cube, Hong Kong.
1129:"Park Seo-Bo Écriture," Galerie Perrotin, Paris, France.
852:
Park's "Écriture" series features canvases layered with
179:, having their study interrupted by the outbreak of the
1251:
KIAF '19, Kukje Gallery (Seoul), Johyun Gallery (Busan)
2347:"Dansaekhwa master Park Seo-bo dies at 92 from cancer"
2229:"Interview: Park Seo-Bo Holding a Unique Exhibition,"
1800:
The Contemporary Museum of Hong-lk University, Seoul.
1882:
An Untiring Great Worker: Park Seo-bo's Life and Art
616:
Teaching and administrative work (early 1960s–1990s)
510:
in January 1961 as the Korean representative of the
2430:
2140:Alexandra Munroe, "A Space of many Dimensions," in
1014:Art historian Kim Yisoon links Park's process with
123:
109:
85:
69:
64:
2190:, exh. cat. (Liverpool: Tate Gallery, 1992), 8–13.
1388:"Dansaekhwa" (organized by Kukje Gallery, Seoul),
591:artists were active in the late 1950s – mid-1960s
1713:The Museum of Contemporary Art, Hiroshima, Japan.
1116:"Park Seo-Bo," Langen Foundation, Neuss, Germany.
2205:https://brooklynrail.org/2006/07/art/seo-bo-park
2188:Working With Nature: Contemporary Art from Korea
2086:, exh. cat. (Seoul: Kukje Gallery, 2014), 19-27.
2073:, exh. cat. (Seoul, Kukje Gallery, 2014), 19-27.
1859:Park Seo-bo, Soon C. Cho, and Barbara Bloemink.
1844:SC Johnson & Son Council House, Racine, USA.
1710:Shimonoseki City Art Museum, Shimonoseki, Japan.
1382:"Dansaekhwa," Art Issue Project, Taipei, Taiwan.
684:Late-career events and achievements (1990s–2023)
1827:The George Economou Collection, Athens, Greece.
1359:"After Drawing," Gallery Hyundai, Seoul, Korea.
287:to study Korean Painting under the tutelage of
745:, Seoul, and the other is a private museum on
723:National Museum of Modern and Contemporary Art
1165:"Ecriture 1967-1981," White Cube, London, UK.
8:
1839:Fonds National d'Art Contemporain Collection
1782:The Museum of Ewha Womans University, Seoul.
1106:"Park Seo-Bo," Johyun Gallery, Busan, Korea.
693:Park began building a studio for himself in
603:"Park Seo-Bo: Écriture" (Muramatus Gallery,
533:Park Seo-bo stands in front of his painting
306:Due to the war, Hongik temporarily moved to
92:
76:
2299:Edward Leffingwell, "Park Seo-bo: Arario,"
2277:, exh. cat. (Seoul: Hyundai Gallery, 1988).
1682:The Art Institute of Chicago, Chicago, USA.
1062:with his wife and his second son's family.
799:'s work, which Park cites as an influence.
2040:29, no. 425, October 1977, 168-74, 183-89.
1653:
1421:
1208:
1088:
971:. He has also analogized his process with
540:at the "Jeunes Peintres du Monde à Paris."
406:Ministry of Culture and Public Information
53:
2034:From All Sides: Tansaekhwa on Abstraction
1875:Park Seo-bo: From Avant-Garde to Ecriture
1722:Museum of Contemporary Art, Tokyo, Japan.
1685:The Museum of Modern Art (MOMA), NY, USA.
721:Park had two major retrospectives at the
552:.Their influence is present in the piece
2049:Oh Kwang-su, "The Absence of Image," in
1716:The Museum of Modern Art, Toyama, Japan.
1168:"ECRITURE," Galerie Perrotin, Hong Kong.
838:
657:
395:
2186:Lewis Biggs, "Working with Nature," in
2171:On All Sides: Tansaekhwa on Abstraction
1900:
1870:. Exh. cat. Seoul: Kukje Gallery, 2014.
1863:. New York: Assouline Publishing, 2008.
1818:Steven Cohen Collection, Stanford, USA.
1751:Gyeonggido Museum of Modern Art, Ansan.
1707:Mie Prefectural Art Museum, Mie, Japan.
1656:
1424:
1211:
1091:
781:"Hereditarius" series (late 1960s–1970)
372:In spite of the limited information on
2486:Deaths from lung cancer in South Korea
2094:
2092:
2065:
2063:
1861:Empty the Mind: The Art of Park Seo-bo
1691:Solomon R. Guggenheim Museum, NY, USA.
1193:Daejeon Museum of Art, Daejeon, Korea.
959:Relationship to traditional Korean art
758:"Primordialis" series (1957–mid 1960s)
322:Lee Bongsang Painting Institute (1957)
44:
2368:in referring to Park as 92 years old.
2243:
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2152:
2150:
2136:
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1766:Busan Metropolitan Art Museum, Busan.
1694:Guggenheim Abu Dhabi, Abu Dhabi, UAE.
986:Cheon Seungbok, a journalist for the
634:Korean Association of Plastic Artists
330:, Seoul. Artists like Bang Geuntaek,
7:
2249:Park Seo-Bo: The Untiring Endeavorer
2142:Park Seo-Bo: The Untiring Endeavorer
2113:Park Seo-Bo: The Untiring Endeavorer
1982:Park Seo-Bo: The Untiring Endeavorer
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1884:. Seoul: Inmul Publishing Co., 2019.
1830:Alexandra Monroe - Private Collector
831:Empty Space/Genetic Factor and Space
804:National Museum of Modern Art, Tokyo
424:titled the Contemporary Exhibition (
408:-organized National Art Exhibition (
2481:Academic staff of Hongik University
2431:Seobo Art & Cultural Foundation
2010:(London: Laurence King, 2005), 228.
1725:Fukuoka Art Museum, Fukuoka, Japan.
646:Korean Fine Arts Association (KFAA)
2404:Angelica Villa (15 October 2022).
2199:"Seo-Bo Park with Robert Morgan,"
1866:Yoo Jinsang and Nick Herman, eds.
1821:Rachofsky Collection, Dallas, USA.
1679:Pola Museum of Art, Hakone, Japan.
913:Expansion in color palette (2000s)
343:Contemporary Artists Association (
25:
2466:South Korean contemporary artists
1772:Gwangju City Art Museum, Gwangju.
860:Park originally named the series
583:Connection to Korean Art Informel
2345:Choi, Ji-won (14 October 2023).
1891:. Milan: Mondadori Electa, 2022.
1797:Leeum Samsung Art Museum, Seoul.
1704:Yuz Foundation, Shanghai, China.
1190:Galerie Perrotin, New York, USA.
27:South Korean painter (1931–2023)
2379:"[단독] 단색화 거장 박서보 화백 별세"
2326:Andrew Russeth (16 June 2021).
2290:(London: Phaidon, 2020), 73-95.
2247:Joan Kee, "Painting Faith," in
2220:(London: Phaidon, 2020), 73–95.
1719:Ohara Museum, Kurashiki, Japan.
1058:Park later lived in a house in
410:Daehan minguk misul chollamhoe—
2316:46, no. 2 (October 2007), 391.
1969:Han'guk hyeondai misul jeonjip
1958:(London: Lawrence King, 2005).
1877:. Seoul: Books Actually, 2014.
1791:Walker Hill Art Center, Seoul.
93:
77:
1:
2177:, no. 125, November 1977, 46.
1824:SIGG Collection, Switzerland.
1196:Johyun Gallery, Busan, Korea.
904:Black and white (early 1990s)
848:"Écriture" series (1967–2023)
813:Park presented another work,
326:Park joined the institute in
279:Hongik University (1950–1955)
164:to identify him as a leading
2436:Park Seo-Bo's Art & Life
2385:(in Korean). 14 October 2023
2102:, No. 178 (April 2016), 160.
1779:Han-Lim Art Museum, Daejeon.
821:Installation art (1969–1970)
638:Artists and architects like
368:Korean Art Informel Movement
1785:Art Sonje Museum, Gyeongju.
1763:Seoul Museum of Art, Seoul.
892:Park attended a panel with
478:Park began writing for the
130:
116:
2502:
2461:People from Yecheon County
2160:126 (Nov/Dec 2021), 54-61.
1390:Palazzo Contarini Polignac
998:even one painting a year.
864:(method), but retitled it
31:
239:North Gyeongsang Province
147:
52:
47:
2476:Hongik University alumni
2366:East Asian age reckoning
1788:Gidang Art Museum, JeJu.
1757:Posco Art Museum, Seoul.
1748:Daegu Art Museum, Daegu.
1213:Recent Group Exhibitions
578:Dansaekhwa (early 1970s)
432:upon joining the group.
2008:20th Century Korean Art
1997:(November 1966), 84-85.
1956:20th Century Korean Art
1887:Falvo, Rosa Maria, ed.
1093:Recent Solo Exhibitions
469:Global exposure (1960s)
175:after growing up under
2426:Park Seo-Bo Foundation
2006:Park Seo-bo, cited in
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378:Abstract Expressionism
345:Hyeondae Misul Hyeohoe
275:
243:Korea, Empire of Japan
200:Hyeondae Misul Hyeohoe
186:After graduating from
177:Japanese colonial rule
2471:South Korean painters
2084:The Art of Dansaekhwa
2071:The Art of Dansaekhwa
1889:Park Seo-bo: Écriture
1868:The Art of Dansaekhwa
1697:M+ Museum, Hong Kong.
1067:myocardial infarction
1065:Park suffered from a
992:
951:
937:
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667:Exhibition organizing
661:
532:
519:
399:
273:
36:, the family name is
2264:(November 26, 1960).
1760:Total Museum, Seoul.
557:(Original Sin No. 8)
554:Péché Originel No. 8
538:(Original Sin No. 8)
535:Péché Originel No. 8
111:Revised Romanization
59:Park working in 2019
2364:Note: Article uses
2128:(November 2, 2018).
2057:, no. 5 (1973): 47.
2023:(December 3, 1961).
2021:Kyung-hyang Shinmun
1071:cerebral infarction
1060:Yeonhui-dong, Seoul
927:Emphasis on process
894:Robert Rauschenberg
881:Hanji (early 1980s)
785:The "Hereditarius (
452:The Korean Republic
2303:(March 2009), 146.
2233:, October 1, 1973.
1769:Gallery 63, Seoul.
1754:Museum San, Wonju.
982:Critical reception
965:Joseon era potters
857:works until 1973.
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572:São Paulo Biennial
542:
490:, Roberto Crippa,
402:
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2201:The Brooklyn Rail
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973:literati painting
885:Park began using
810:, and Itami Jun.
737:Dedicated museums
699:Gyeonggi Province
574:two years later.
506:Park traveled to
285:Hongik University
256:Gyeonggi Province
229:Park was born in
188:Hongik University
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16:(Redirected from
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2387:. Retrieved
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2275:Park, Seo-bo
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1042:Jasper Johns
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797:George Segal
790:
786:
784:
774:
768:
764:wonhyeongjil
763:
761:
740:
732:
720:
692:
670:
649:
640:Kim Swoogeun
637:
628:
624:
602:
593:Art Informel
587:A number of
586:
569:
561:
556:
553:
543:
537:
534:
523:Michel Tapié
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492:Hans Hartung
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374:Art Informel
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350:
344:
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312:
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260:
228:
215:Yeonhui-dong
208:
204:
199:
195:
192:draft dodger
185:
170:
148:
139:
138:
37:
29:
2456:2023 deaths
2451:1931 births
2231:Dong-A Ilbo
1873:Lim, Kate.
1658:Collections
1649:Collections
1084:Exhibitions
1078:lung cancer
963:Park cited
747:Jeju island
707:Seogyo-dong
599:Exhibitions
480:Dong-A Ilbo
448:Hanguk Ilbo
392:Exhibitions
140:Park Seo-bo
65:Korean name
48:Park Seo-bo
34:Korean name
18:Park Seo-Bo
2445:Categories
2389:14 October
2358:14 October
1896:References
1259:2018-2019
1038:Cy Twombly
829:in Osaka.
729:Foundation
589:Dansaekhwa
444:Deoksugung
362:Liberation
357:Kim Whanki
328:Anguk-dong
315:Kim Whanki
293:Korean War
225:Early life
181:Korean War
173:Korean War
166:Dansaekhwa
117:Bak Seo-Bo
1367:2015-2016
1221:2019-2020
1111:2019-2020
1073:in 2009.
827:1970 Expo
792:obangsaek
787:yujeonjil
743:Jongno-gu
713:, Seoul.
412:known as
303:on foot.
289:Yi Eungro
266:Education
131:Pak Sŏ-Bo
2410:ART News
2314:Artforum
1023:Joan Kee
1016:Buddhist
969:moon jar
866:Écriture
808:Lee Ufan
703:Yi Hwang
653:Lee Ufan
621:Teaching
168:artist.
32:In this
862:Myobeop
753:Artwork
695:Anseong
461:at the
414:Gukjeon
384:Park's
297:Anseong
252:Anseong
248:Yecheon
196:Kukjeon
158:critics
2383:Chosun
2100:Frieze
1835:French
1833:FNAC (
1804:
1729:
1426:Awards
1417:Awards
922:Method
689:Studio
609:critic
512:UNESCO
494:, and
450:, and
338:Career
144:Korean
71:Hangul
2175:Space
2126:Ocula
1995:Space
1639:U.S.A
945:Color
887:hanji
874:hanji
854:gesso
605:Tokyo
508:Paris
308:Busan
301:Masan
219:Seoul
154:Hanja
87:Hanja
2391:2023
2360:2023
1633:1961
1623:1972
1613:1976
1603:1979
1593:1984
1580:1987
1570:1990
1560:1993
1547:1994
1537:1995
1527:1996
1517:1999
1507:2004
1494:2008
1484:2009
1474:2011
1464:2014
1454:2015
1444:2018
1434:2019
1377:2015
1322:2016
1300:2017
1269:2018
1231:2019
1185:2015
1160:2016
1150:2017
1134:2018
1121:2019
1101:2020
1040:and
548:and
160:and
39:Park
299:to
254:in
250:to
241:),
149:박서보
78:박서보
2447::
2408:.
2381:.
2349:.
2330:.
2238:^
2149:^
2133:^
2091:^
2062:^
1935:^
1903:^
1837::
1044:.
975:.
896:,
877:.
749:.
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680:.
498:.
486:,
364:.
233:,
221:.
217:,
152:,
146::
2412:.
2393:.
2362:.
2334:.
2207:.
430:—
428:)
422:—
237:(
142:(
101:甫
98:栖
95:朴
42:.
20:)
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