Park Rehyun, Glory, 1967, ink on paper, 52 3/5 × 66 1/8".

Park Rehyun, Glory, 1967, ink on paper, 52 3/5 × 66 1/8".


Park Rehyun

National Museum of Modern and Contemporary Art (MMCA) | Deoksugung
99 Sejong-daero, Jung-gu
August 27–November 8, 2020

Curated by Yejin Kim

Histories of contemporary art often relegate ink painting to the status of historical reference or revisionist novelty—even in Asia. This autumn, the Deoksugung branch of the Museum of Modern and Contemporary Art in Korea will make a case for that medium’s centrality to an expanded history of postwar art with a retrospective of the protean Park Rehyun (1920–1976). A woman in a decidedly patriarchal world, Park enjoyed a remarkably prodigious career that in many ways outshone that of her celebrated husband, the artist Kim Kichang. Known for pushing the limits of conventional ink painting, she began her career in 1940s Korea at the end of the Japanese occupation, came to the US at the invitation of the State Department in 1964, and later followed the initial wave of international biennialism to São Paulo and across Latin America. Coinciding with the centenary of Park’s birth, this display of approximately one hundred works is intended to showcase the full range of her production, from her early experiments with abstraction to her prints modeled after tapestries.