Isbn: 9780816679881 - contemporary korean art: tansaekhwa and the urgency of method (27 resultados)

Paperback. Condición: Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Standard-sized.

Condición: New.

Condición: New. Brand New! Not Overstocks or Low Quality Book Club Editions! Direct From the Publisher! We're not a giant, faceless warehouse organization! We're a small town bookstore that loves books and loves it's customers! Buy from Lakeside Books.

Paperback or Softback. Condición: New. Contemporary Korean Art: Tansaekhwa and the Urgency of Method. Book.

Condición: New. Brand New.

Softcover, 348 pages, very good condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Condición: As New. Unread book in perfect condition.

Condición: New.

Paperback. Condición: new. Paperback. The first in-depth examination in English of twentieth-century Korea's most important artistic movement. In this full-color, richly illustrated accountthe first of its kind in EnglishJoan Kee provides a fresh interpretation of the movement's emergence and meaning that sheds new light on the history of abstraction, twentieth-century Asian art, and contemporary art in general. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: New. Starting in the mid-1960s, a group of Korean artists began to push paint, soak canvas, drag pencils, rip paper, and otherwise manipulate the materials of painting in ways that prompted critics to describe their actions as "methods" rather than artworks. A crucial artistic movement of twentieth-century Korea, Tansaekhwa (monochromatic painting) also became one of its most famous and successful. Promoted in Seoul, Tokyo, and Paris, Tansaekhwa grew to be the international face of contemporary Korean art and a cornerstone of contemporary Asian art. In this full-color, richly illustrated account-the first of its kind in English-Joan Kee provides a fresh interpretation of the movement's emergence and meaning that sheds new light on the history of abstraction, twentieth-century Asian art, and contemporary art in general. Combining close readings, archival research, and interviews with leading Tansaekhwa artists, Kee focuses on an essential but often overlooked dimension of the movement: how artists made a case for abstraction as a way for viewers to engage productively with the world and its systems. As Kee shows, artists such as Lee Ufan, Park Seobo, Kwon Young-woo, Yun Hyongkeun, and Ha Chonghyun urgently stressed certain fundamentals, recognizing that overwhelming forces such as decolonization, authoritarianism, and the rise of a new postwar internationalism could be approached through highly individual experiences that challenged viewers to consider how they understood their world rather than why. Against the backdrop of the Cold War, decolonization, and the declaration of martial law in South Korea, these artists asked questions that continue to resonate today: In what ways can art matter to the world? How does art exert agency when its viewers live in times of explicit or implicit duress? How can specific social and political conditions inspire or influence methods and styles.…

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condición: New. Starting in the mid-1960s, a group of Korean artists began to push paint, soak canvas, drag pencils, rip paper, and otherwise manipulate the materials of painting in ways that prompted critics to describe their actions as "methods" rather than artworks. A crucial artistic movement of twentieth-century Korea, Tansaekhwa (monochromatic painting) also became one of its most famous and successful. Promoted in Seoul, Tokyo, and Paris, Tansaekhwa grew to be the international face of contemporary Korean art and a cornerstone of contemporary Asian art. In this full-color, richly illustrated account-the first of its kind in English-Joan Kee provides a fresh interpretation of the movement's emergence and meaning that sheds new light on the history of abstraction, twentieth-century Asian art, and contemporary art in general. Combining close readings, archival research, and interviews with leading Tansaekhwa artists, Kee focuses on an essential but often overlooked dimension of the movement: how artists made a case for abstraction as a way for viewers to engage productively with the world and its systems. As Kee shows, artists such as Lee Ufan, Park Seobo, Kwon Young-woo, Yun Hyongkeun, and Ha Chonghyun urgently stressed certain fundamentals, recognizing that overwhelming forces such as decolonization, authoritarianism, and the rise of a new postwar internationalism could be approached through highly individual experiences that challenged viewers to consider how they understood their world rather than why. Against the backdrop of the Cold War, decolonization, and the declaration of martial law in South Korea, these artists asked questions that continue to resonate today: In what ways can art matter to the world? How does art exert agency when its viewers live in times of explicit or implicit duress? How can specific social and political conditions inspire or influence methods and styles.…

Condición: new.

Paperback. Condición: New. Special order direct from the distributor.

Condición: New.

Condición: As New. Unread book in perfect condition.

Paperback. Condición: Brand New. 384 pages. 10.00x7.00x2.00 inches. In Stock.

Condición: New. pp. 384.

Condición: New. Num Pages: 384 pages, 135 colour plates. BIC Classification: 1FPK; ACBP; HBJF. Category: (G) General (US: Trade). Dimension: 255 x 177 x 24. Weight in Grams: 1076. . 2013. Paperback. . . . .

Condición: New. Num Pages: 384 pages, 135 colour plates. BIC Classification: 1FPK; ACBP; HBJF. Category: (G) General (US: Trade). Dimension: 255 x 177 x 24. Weight in Grams: 1076. . 2013. Paperback. . . . . Books ship from the US and Ireland.

Condición: New. In English.

Paperback. Condición: Brand New. 384 pages. 10.00x7.00x2.00 inches. In Stock.

Condición: New. pp. 384 Index.

Paperback. Condición: New. Starting in the mid-1960s, a group of Korean artists began to push paint, soak canvas, drag pencils, rip paper, and otherwise manipulate the materials of painting in ways that prompted critics to describe their actions as "methods" rather than artworks. A crucial artistic movement of twentieth-century Korea, Tansaekhwa (monochromatic painting) also became one of its most famous and successful. Promoted in Seoul, Tokyo, and Paris, Tansaekhwa grew to be the international face of contemporary Korean art and a cornerstone of contemporary Asian art. In this full-color, richly illustrated account-the first of its kind in English-Joan Kee provides a fresh interpretation of the movement's emergence and meaning that sheds new light on the history of abstraction, twentieth-century Asian art, and contemporary art in general. Combining close readings, archival research, and interviews with leading Tansaekhwa artists, Kee focuses on an essential but often overlooked dimension of the movement: how artists made a case for abstraction as a way for viewers to engage productively with the world and its systems. As Kee shows, artists such as Lee Ufan, Park Seobo, Kwon Young-woo, Yun Hyongkeun, and Ha Chonghyun urgently stressed certain fundamentals, recognizing that overwhelming forces such as decolonization, authoritarianism, and the rise of a new postwar internationalism could be approached through highly individual experiences that challenged viewers to consider how they understood their world rather than why. Against the backdrop of the Cold War, decolonization, and the declaration of martial law in South Korea, these artists asked questions that continue to resonate today: In what ways can art matter to the world? How does art exert agency when its viewers live in times of explicit or implicit duress? How can specific social and political conditions inspire or influence methods and styles.…

Condición: New. InhaltsverzeichnisContentsNote to ReadersIntroduction: The Urgency of Method1. Kwon Young-woo and Yun Hyoungkeun Rethink Painting2. Rates of Exchange in Ha Chongyun&rsquos Conju.

Paperback. Condición: new. Paperback. The first in-depth examination in English of twentieth-century Korea's most important artistic movement. In this full-color, richly illustrated accountthe first of its kind in EnglishJoan Kee provides a fresh interpretation of the movement's emergence and meaning that sheds new light on the history of abstraction, twentieth-century Asian art, and contemporary art in general. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Paperback. Condición: New. Starting in the mid-1960s, a group of Korean artists began to push paint, soak canvas, drag pencils, rip paper, and otherwise manipulate the materials of painting in ways that prompted critics to describe their actions as "methods" rather than artworks. A crucial artistic movement of twentieth-century Korea, Tansaekhwa (monochromatic painting) also became one of its most famous and successful. Promoted in Seoul, Tokyo, and Paris, Tansaekhwa grew to be the international face of contemporary Korean art and a cornerstone of contemporary Asian art. In this full-color, richly illustrated account-the first of its kind in English-Joan Kee provides a fresh interpretation of the movement's emergence and meaning that sheds new light on the history of abstraction, twentieth-century Asian art, and contemporary art in general. Combining close readings, archival research, and interviews with leading Tansaekhwa artists, Kee focuses on an essential but often overlooked dimension of the movement: how artists made a case for abstraction as a way for viewers to engage productively with the world and its systems. As Kee shows, artists such as Lee Ufan, Park Seobo, Kwon Young-woo, Yun Hyongkeun, and Ha Chonghyun urgently stressed certain fundamentals, recognizing that overwhelming forces such as decolonization, authoritarianism, and the rise of a new postwar internationalism could be approached through highly individual experiences that challenged viewers to consider how they understood their world rather than why. Against the backdrop of the Cold War, decolonization, and the declaration of martial law in South Korea, these artists asked questions that continue to resonate today: In what ways can art matter to the world? How does art exert agency when its viewers live in times of explicit or implicit duress? How can specific social and political conditions inspire or influence methods and styles.…