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

  • Journal of History of Modern Art
  • 2021, (50), pp.7-44
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : October 25, 2021
  • Accepted : November 26, 2021
  • Published : December 31, 2021

Kim, Kisoo 1

1계명대학교

Accredited

ABSTRACT

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.

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This paper was written with support from the National Research Foundation of Korea.
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