Korean | English

pISSN : 1598-7728 / eISSN : 2733-9793

2020 KCI Impact Factor : 0.47
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) : 0.47
  • KCI IF(5yr) : 0.43
  • Centrality Index(3yr) : 1.024
  • Immediacy Index : 0.0

Current Issue : 2021, Vol., No.50

  • The Art-Historical Significance of Avant-garde Artist Ri Sang-Choon(1910-1937)

    Kim, Kisoo | 2021, (50) | pp.7~44 | number of Cited : 0
    Abstract PDF
    This paper attempts to examine the avant-garde artworks of artist Ri Sang Choon (1910-1937) during the Japanese colonial period, and thereby to establish his position in the history of Korean modern and contemporary art. This paper demonstrates that Ri turned out to be an excellent avant-garde artist who led such art organizations as Zero Association (1927-29), Street Theater (1930), Megaphone (1932), and New Construction (1932-34), working as a painter, illustrator, stage setter, magazine publisher, book designer, theorist, and educator in the context of Western and Japanese avant-garde art. Ri was ideologically inclined to nihilism, anarchism, socialism, and communism, and artistically used various media such as painting, collage, printmaking, illustration, stage sets, essays, drama, etc., all of which show that he was a truly avantgarde thinker and artist who tried to realize his social ideals by freely crossing such diverse avant-garde styles as Dadaism, Futurism, Surrealism, and Constructivism. Thus, this paper expects to expand the horizon of Korean modern art by revealing that contrary to the interpretations of art historians hitherto Ri was not just a KAPF-type (socialist) realism artist but de facto an avant-garde artist, and to provide a foundation for reconstructing the historical genealogy of Korean contemporary art.
  • Jin Sup Yoon’s Playful Performance Art

    Cho Soojin | 2021, (50) | pp.45~78 | number of Cited : 0
    Jin Sup Yoon, one of Korea’s leading performance artists, worked as a critic, curator, and educator while pursuing avant-garde art throughout his life. Most notable within his long career is Yoon’s role as a living witness of the history of Korean performance art, and his seventy or so performance pieces that have been released to date. Many artists have practiced performance art since the genre’s introduction in Korea, but few have produced performance works consistently throughout their lifetime. In addition, it is rare to see artists with such diverse careers—Yoon worked simultaneously as a performance artist, a performance-related exhibition curator at home and abroad, a performance critic and a historical researcher. Therefore, examining Jin Sup Yoon’s works and the practices involved is a matter of examining the development process of the more than forty years of Korean performance art history. Although each era of Yoon’s performance shows its distinct nature, the ultimate motivation behind his works remains the same throughout. It is a continuous quest, explored through the medium of performance, to break free from the ideological dichotomy that modern and contemporary Korean art has been so obsessed with: ‘participation’ and ‘purity.’ For this goal he has traversed the inside and outside of the Korean art scene in order to bring a change of perception. Yoon’s performances, constructed freely and without any set path or strategy, are the result of the artist’s nomadic worldview. Less grandiose and more delightful, like a child’s play, they sought to create a fissure within the mainstream art scene instead of confronting it head to head. Yoon continues to create his unique kind of performance pieces to this day, using art as “play,” a new way of thinking that can free itself from hostile ideological divisions.
  • Min-su Ha’s Installation Art: Focusing on the Small Groups ‘META-VOX’ and ‘30 carat’

    Jin Sol Shim | 2021, (50) | pp.79~111 | number of Cited : 0
    Min-su Ha (b. 1961) is a Korean artist based in Seoul. This article explores her development of a unique visual language through examining her artworks from the 1980s to the 1990s focusing on the small groups META-VOX and 30 carat. METAVOX is a ‘tal-modern’ small group, which aimed to overcome Korean modern aesthetics that prevailed in the 1970s. During the META-VOX period, Ha sought to express her own experience and feelings through the medium of objects and installation. In the 1990s, Ha took the initiative in forming 30 carat, which consisted of ten women artists in their early thirties. Through seven exhibitions from 1993 to 2000, Ha rigorously delved into subjects such as femininity and masculinity, Koreanness, and social and environmental issues. While 30 carat was one of the most significant small group movements in the 1990s, which took a different path from the feminist art movement affiliated with Minjung art in the 1980s, it has not yet received proper critical attention. This article points out that the blank space in Korean feminist art history caused by the absence of feminist discourse bringing women’s personal experience into the political realm, and relocates 30 carat in the context of Korean feminist art history.