.jpg?w=1)
Lot Essay
We live in a time where we are constantly saturated and bombarded by input and information. No more so than in the most wired city in the world, Seoul Korea. The New York art critic, Brian O'Doherty, first coined the term "vernacular glance" in 1973 in critical response to the work of Robert Rauschenberg, and to a larger degree to the transitory period, which his work represented. Fast-forward almost half a decade later and the art world has globalised. No longer confined to an undisputed art capital and thru the invention of imagistic search engines like google image, everything is available everywhere to everyone.
What has happened and is happening in Korea can be taken as a specific sample of a globalised whole. Here artists practice personal forms of expression, which while local in their origins, intend to speak to a far greater audience. A recent generation of primarily female artists has carved out a new school of abstraction, influenced as much by screens, virtual spaces, and left over remnants of culture, as they are by poetry and the performative actions of their own bodies. While their male counterparts practice equally innovative strains of abstract painting, inspired by politics, science, and the history of art itself.
Of course, the moment has also inspired representational artists who use the effects of ever shifting ideas and forms literally and figuratively, incorporating cutting edge, hybridised aesthetic strategies that either condense thousands of moments into a singular glance or a singular glance into multiple moments. What is clear is that the cultural and artistic avant-garde is no longer located anywhere but rather everywhere, and while the idea of the vernacular glance was intended to suggest an impersonal and generalised sense of vision, in this age it has become something else entirely.
As a follow up to the first very successful curated auction sale of Korean Contemporary Art, NATURAL SELECTION in 26 November 2017, we are pleased to present the sequel. - Curated by Choi Dusu and Jin Meyerson
What has happened and is happening in Korea can be taken as a specific sample of a globalised whole. Here artists practice personal forms of expression, which while local in their origins, intend to speak to a far greater audience. A recent generation of primarily female artists has carved out a new school of abstraction, influenced as much by screens, virtual spaces, and left over remnants of culture, as they are by poetry and the performative actions of their own bodies. While their male counterparts practice equally innovative strains of abstract painting, inspired by politics, science, and the history of art itself.
Of course, the moment has also inspired representational artists who use the effects of ever shifting ideas and forms literally and figuratively, incorporating cutting edge, hybridised aesthetic strategies that either condense thousands of moments into a singular glance or a singular glance into multiple moments. What is clear is that the cultural and artistic avant-garde is no longer located anywhere but rather everywhere, and while the idea of the vernacular glance was intended to suggest an impersonal and generalised sense of vision, in this age it has become something else entirely.
As a follow up to the first very successful curated auction sale of Korean Contemporary Art, NATURAL SELECTION in 26 November 2017, we are pleased to present the sequel. - Curated by Choi Dusu and Jin Meyerson