Published by Kukje Gallery. Edited by Yongwoo Lee. Introduction by Lee Ufan. Foreword by Hyunsook Lee.
The exhibition Dansaekhwa at the 2015 Venice Biennale showcased the works of key masters who defined the art movement’s development in the 1970s. This catalogue focuses on the Korean minimalist painter and sculptor Lee Ufan (born 1936) and his relationship to the movement.
PUBLISHER KUKJE GALLERY
BOOK FORMAT Hardcover, 9.75 x 12.25 in. / 82 pgs / 16 color / 13 bw.
PUBLISHING STATUS PUB DATE 7/26/2016 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2016 p. 159
PRODUCT DETAILS ISBN 9788992233774FLAT40 LIST PRICE: $30.00 CDN $40.00
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Published by Actes Sud. Text by Philippe Dagen, Michel Enrici, Ukaï Satoshi.
Korean artist Lee Ufan (born 1936) initially studied (and wrote) poetry and philosophy. In 1969, he became the theoretician and leader of the Mono-Ha movement in Japan, where he developed his artistic methods and motivations. As a lecturer at the Tama University in Tokyo, he started a career as a painter and a sculptor, and his reputation spread internationally. In his early minimalist paintings, he combines ground mineral pigment with animal-skin glue, a traditional technique in East-Asian silk painting. Many of his industrial-like sculptures consist of lightly colored round stones and dark, rectangular iron plates. This monograph brings together Ufan’s works across all genres, also supplying biographical documentation. In an exclusive interview with Michel Enrici, Ufan reveals details of his childhood and examines how his career has developed, covering his moral and aesthetic positions.
Published by Guggenheim Museum Publications. Text by Alexandra Munroe, Tatehata Akira, Mika Yoshitake, Nancy Lim, Reiko Tomii.
Published for the Guggenheim’s 2011 retrospective on Lee Ufan (born 1936), Marking Infinity charts the Korean artist and theorist’s creation of a visual and conceptual language that has greatly expanded the possibilities of painting and sculpture in the postwar era. Whether placing brush marks on canvas or combining discrepant textures of steel and stone, Lee has consistently elicited the subtlest and most spacious effects from the particular qualities of his materials. Lee is also a key theorist of Mono-ha, a movement that developed in Tokyo in the late 1960s, and this hardcover volume includes a selection of his influential writings on aesthetics and philosophy, published in English for the first time--alongside a wealth of full-color reproductions of Lee’s iconic paintings, sculptures and works on paper from the past 40 years.
Published by Walther König, Köln. Introduction by Jean Fisher.
Lee Ufan, a painter, sculptor, writer and philosopher, is known for his leading role in the Japanese avant-garde group Monoha. A new edition of a collection of writings first published in 2004, this volume features previously unpublished essays and spans from 1967-2007. Topics range from emptiness to the use of the brush to individual artists.
Published by Turner/Lisson Gallery. Artwork by Lee Ufan.
Painter, sculptor, writer and philosopher Lee Ufan first came to prominence in the late 1960s as one of the major proponents of the Japanese avant-garde group Monoha. Japan's first contemporary art movement to gain international recognition, the Monoha school of thought rejected Western notions of representation, choosing to focus on the relationships of materials and perceptions rather than on expression or intervention. The movement's definitive goal was to embrace the world at large and encourage the fluid coexistence of numerous beings, concepts and experiences. Lee Ufan's formation in the philosophy department at Nihon University in Tokyo earned him a distinguished role as the movement's spokesman. His writing, presented here in English for the first time, was capable of expressing some of the artistic concepts of concern to artists in Japan during the late 60s. At that time, young Monoha artists raised some of the fundamental questions posed by contemporary artists everywhere: What does it mean to produce a work of art at the end of the twentieth century? What is the sense of art today?