Journal of History of Modern Art 2021 KCI Impact Factor : 0.88

Korean | English

pISSN : 1598-7728 / eISSN : 2733-9793
Aims & Scope
The Korea Association for History of Modern Art (KAHOMA) was established in February 1990 to promote academic research and exchange on the history and theory of modern and contemporary art, at a time when there was no association that professionally researched modern and contemporary art in South Korea. Since its establishment, KAHOMA has been intensely focused on interdisciplinary studies, particularly on modern and contemporary art, which compasses art history, art theory, curatorial and professional fields of art research, and aesthetics. Also, the association contributes to in-depth research and exchange throughout art culture in a wide range of areas, including existing paintings, sculptures, photographs, video,   and architecture as well as visual and material cultures, new media, life sciences, curation, and art administration, expanding the scope of traditional art historical research methodology and attempting to relate it to other studies in integral ways. Through regular academic presentations, symposiums, and publications, KAHOMA aims to develop modern and contemporary art history and expand and educate the researcher base of modern and contemporary art history. In particular, the Journal of History of Modern Art, which was first published with the establishment of the association, is a professional journal published twice a year and contains the results of academic research and exchanges that have been led by the association. The association has pioneered a variety of new subjects such as contentious and critical topics (feminism in contemporary art, war and gender issues related to Japanese military sexual slavery, homosexuality and sexual politics, etc.); public topics (food and art, art and competition, public art and biennale, disputes over art markets and museums, etc.); discussions about the relationship between technology and art using cutting edge technology―photographic media, video, digital, bioart, etc.―and so on. Based on these efforts and achievements, the association encourages researchers to engage in ongoing research on modern and contemporary art, while also contributing to the research and education of art history by drawing the attention of subsequent generations to modern and contemporary art history. The association also collaborates on research with scholars from other fields of study and institutions to make diversified approaches to art in the rapidly changing era of the knowledge-based society and the Fourth Industrial Revolution. Moreover, it makes continuous efforts to ensure that art history research can be carried out in connection with both high-tech science and technology research and the humanities. Through these efforts, KAHOMA is expanding the prospect of multidisciplinary research about contemporary art of the twenty-first century.  
Eun Young Jung

(Korea National University of Education)

Citation Index
  • KCI IF(2yr) : 0.88
  • KCI IF(5yr) : 0.66
  • Centrality Index(3yr) : 1.652
  • Immediacy Index : 0.125

Current Issue : 2022, Vol., No.51

  • Reality of Art, Art of Reality: Lee Yil’s Early Art Criticism (1962-1974)

    Ji Eun Sung | 2022, (51) | pp.5~29 | number of Cited : 0
    In this essay, I examine how art critic Lee Yil placed Korean art within the topography of the international art world and what he proposed as the future of Korean art, envisaging autonomous Korean art in the 1960s and the 1970s. I particularly focus on the concept of reality, which was transformed in many ways in his criticism. In his representational view of art, that is, “art which draws what is seen,” reality was the ‘fact’ that is seen. Encountering the discourse of contemporary civilization and related new art forms in the mid-1960s, Lee Yil came to comprehend reality, the object of art, as contemporary civilization, and proposed technology- and object-based art as an ideal of Korean art. This overlapped with the activity of the Korean Avant-garde Association, which actively used Marshall McLuhan’s perspective in their art discussion. Nonetheless, in 1971, after a series of attempts and doubting the feasibility and legitimacy of applying the discourse of contemporary civilization to Korean art, Lee Yil came up with a new concept of reality, which was a phenomenologically reduced world, and also with a new kind of art form, which he called “obŭje art.” Lee’s continuous attempts to keenly react to the currents of the international art world, to seek the meaning of reality, and thus, to discover and realize a desirable kind of Korean art were the basis of diverse artistic experimentations during the period.
  • Experimental Art Exhibitions of Korea’s AG(Avant-Garde) Group

    Chung Yeon Shim | 2022, (51) | pp.31~56 | number of Cited : 0
    In the history of postwar Korean art, Dansaekhwa has garnered international attention in terms of both art history and the art market. At the same time, the exhibition history of Korean art groups such as AG(Avant-Garde) attests to the diverse discussions and debates on the issue of ‘experimental arts’ in Korea. This paper analyses the art and essays of these experimental artists as well as critical protagonist Lee Yil. It also explores AG’s exhibition history in relation to “avant-garde modern art” that its journal pursued. In the journal, participants discussed the “environmentalization of spatial art,” “experience-based art theory” and “methods,” in Lee Yil’s terms. The members organized three major AG exhibitions and the Seoul Biennale(1974) and published the journal AG four times between its establishment in 1969 and its dissolution in 1975. They employed dematerialized nature in their works by responding to the urbanization of the Seoul metropolis at that time. Inspired by the Paris and São Paulo Biennales, the AG group considered “international contemporaneity” significant to their activities and exhibitions.
  • Essay on the Discourse of ‘Technology Art’ Exhibition in 1990s

    Lee Eunjoo | 2022, (51) | pp.57~79 | number of Cited : 0
    This study analyzes the period when new media art based on cutting-edge technology became part of contemporary art, and examines the concept of technology art created within the artistic activities and exhibition discourse of the 1990s. It looks into the expansion of the middle zone, the boundary, pluralism, and hybrid cultures, which are not defined by dichotomous concepts such as technology and art, nature and technology, tradition and globalization, universality and specificity, center and periphery, and modernism and post-modernism. The artists and critics who developed the technology art discourse of the 1990s paid attention to the new phenomenon of visual perception arising in the art world. They tried to describe the aesthetic phenomenon in which ‘technology’ was used in art by referring to ‘technoart,’ ‘high-tech art,’ and ‘technology art’ instead of the singular term ‘technology.’ An artist who played a major role in revitalizing exchanges at home and abroad in line with Kim Young-sam’s government’s globalization policy was Nam June Paik. Thanks to the policy, along with Nam June Paik’s retrospective exhibitions like the 30th Anniversary of Video Art, technology-based art forms began to take root. In addition to The More, The Better in 1988, Nam June Paik produced Fractal Turtle Ship for the 1993 Daejeon International Exposition. In the same year, he served as commissioner for the Whitney Biennale and planned the Info Art Exhibition for the Gwangju Biennale. He greatly influenced Korea’s large-scale media art exhibitions of the 1990s. In the 1960s and 1970s, several artists produced video art and multi-media works in Korea, but they were not actively discussed within the realm of art discourse. In the 1990s, an increase in government-led international events resulted in a large number of media art exhibitions, and the artist and exhibition discourse surrounding technology art increased the aesthetic value of art that incorporates technology.