Baik Art presents fascinating photos of post-war South Korea between 1956-1963.
Art radar explores Han Youngsoo’s oeuvre and the stories behind the works in latest show at Baik Art in Los Angeles.
Baik Art’s exhibition “Han Youngsoo: Photographs of Korea, 1956-1963″ marks the first time the critically acclaimed South Korean photographer has been featured in Los Angeles in over thirty years. The exhibition consists of two parts. Han’s small never-before-seen vintage photographs are on view at Baik Art’s main gallery at 2600 La Cienega Boulevard. A selection of large, posthumous prints of Han’s most iconic images and his black and white images are displayed in Baik Art’s second space at 2632 La Cienega Boulevard.
Soo Jeong Kang
“Han Youngsoo: Photographs of Korea, 1956-1963” is on view from 22 September to 21 November 2018 at Baik Art, 2600 and 2632 La Cienega Boulevard, Los Angeles, USA.
- “Memos and Memories”: the world of South Korean artist Bahc Yiso at MMCA, Gwancheon – November 2018 – the National Museum of Modern and Contemporary Art in Gwancheon presents a large-scale retrospective of Korean artist Bahc Yiso
- Strokes of the Elysian Fields: Korean artist Christina Cho’s dreamlike landscapes – in conversation – October 2018 – Christina Cho paints ethereal landscapes combining symbols and images from her native Korea and her adopted home in the Philippines
- “Disappearance”: Lee Kang-So’s 1970s works at Gallery Hyundai, Seoul – original interview extract – October 2010 – Gallery Hyundai presents Lee Kang-so’s performance, photography, video and installation work from the 1970s
- Past and Present in Iranian art: “In the Fields of Empty Days” at LACMA – curator interview – September 2018 – Art Radar got in touch with curator Linda Komaroff to discuss the exhibition’s approach to time, tradition and the ethics of (cultural) appropriation
- “The World Is My Home”: Iranian artists ponder forms of belonging at ADVOCARTSY’s The Space – May 2018 – The Space at ADVOCARTSY presents “The World is My Home”, a group exhibition deciphering a ‘New Iranian Cultural Identity’