Archive by Author


16 Jul

1 Short Essay

l  Title, what is the title to your short essay that describes the essay in one sentence

Or what is a sentence that can lead you into the essay

–      Brief description

–      A lead into the essay

–      Suggestive opening

–      Conceptual framing of the essay

–      Title can be ‘concrete’ or ‘abstract’

–      Abstract – relationship and reference of title and essay

l  Your name (By – author)

l  First sentence of the essay – how do you want to set up your essay? Does it contain the thesis statement?

l  Thesis statement, thesis argument, thesis

–      Example: “Double” is the most powerful and compelling art exhibition about lovers in contemporary times that deals with ambiguity, estrangement, reconsideration, of relationship and essence of time, and specifically in relation to politics of homosexuality and troubles identity. (titles like: TWO TAKES in Double Exhibition by Felix Gonzales-Torres)

l  Thesis can be in the first sentence or it can be in the first paragraph = Introductory paragraph, the introductory paragraph sets up the essay, it is also a good place for basic information. Or you can leave general information to the end or after essay.

l  Body of essay, 3 – 5 paragraphs; address the thesis, back up the thesis argument with concrete examples (specific art pieces) to support your argument

l  Concluding paragraph, at least concluding sentence –

l  Image, captions – in between text, or at the end, better for in between  — when text talks about art, show image, caption length based on how much is written or not written in the essay



1-4 short commentaries

l  Title, author name

l  Context, description

l  Indicating one new point, one large comment


l  Image, captions


Bio – everyone’s full name in English (Korean name)

2-3 sentence bio:

1)    department, school, what major, year

2)    one sentence of area of expertise

3)    what is your contribution in this publication

4)    and / or what else would you like to say (professional background important to share)

10 Jul

Some interesting and valuable excerpts from Soyeon Ahn’s interview with Andrea Rosen

Reading Feliz Gonzalez-Torres’ interview with Anrea Rosen, who was not only his assistant, but also a friend of him, I believe, helps us better understand Felix and his work. I purchased the exhibition ‘Felix Gonzalez-Torres-Double’ catalogue. Below are some excerpts of the interview with Andrea Rosen from the catalogue.

Soyeon Ahn:

Born in 1961, Soyeon Ahn is Chief Curator at PLATEAU. She graduated from Ewha Womans University of Seoul with a bachelor degree in French literature, and a master degree in Art History. She started her career as a curator at National Museum of Contemporary Art in 1986. She has been Chief Curator at Samsung Art Foundation since 1996. Some representative past exhibitions curated by Ahn are: ‘Joseph Beuys’ (National Museum of Contemporary Art, Korea 1991), ‘Lee Bul’ (Rodin Gallery, Seoul 2002), ‘Mind Space’ (Ho Am Gallery, 2003), ‘MATTHEW BARNEY: DRAWING RESTRAINT’ (Leeum Samsung Museum of Art, 2005), and ‘Felix Gonzalez-Torres-Double’ (PLATEAU, 2012).

Andrea Rosen and Felix Gonzalez-Torres Foundation:

Andrea Rosen is a gallerist who had own gallery, Andrea Rosen Gallery, in Chelsea, New York. The gallery was inaugurated in January, 1990, with an exhibition of Felix Gonzalez-Torres. After, she established Felix Gonzalez-Torres Foundation in 2002 to promote and give perpetuity (breath) to Gonzalez-Torres’s artworks. The foundation is housed at Andrea Rosen Gallery. Felix Gonzalez-Torres Foundation not only sponsored many Gonzalez-Torres’s exhibitions worldwide, but also has provided positive aid to general public, scholars, and art-historians. They have archived all of his works and installation shots of nearly every exhibition in which Gonzalez-Torres’s work was included, exhibition catalogues, magazine and newspaper articles, and reviews. They also give guidance for installing, maintaining and de-installation of Gonzalez-Torres’s works, which can be refabricated, to the exhibition organizers.

Below: Excerpts from Soyeon Ahn’s Interview with Andrea Rosen

Soyen Ahn: Felix majored in photography and later also gave lectures. The concept of photography eradicating the aura of the unique artwork, challenging the authority of its owner and therefore bringing the artist significantly closer to the public, seems to be directly reflected in his installations.

Andrea Rosen: (……) For Felix, the core of his work is the idea that the only thing that is permanent is change. He believed that the only way to sustain a work’s significance is through the possibility of change- change of perception or physical change. The photographic works are an important foil for the physically malleable works and vice versa as they make us question each in contrast to one another.

About eradicating the aura of the uniqueness of the artwork: addressing our relationship to the unique versus the multiple object is an important subject for Felix. (……)

Our general questioning of the value of photographs as infinitely reproducible objects becomes interesting in Felix’s work. Because so many of the key unique works have the ease of being reproduced (e.g. paper stacks, candies, beaded curtains, billboards), there is almost a reversal in some way. What becomes more precious are the pure photographic works that cannot be remade. Felix was always interested in the extremes of one or the other, but rather in this flipping of ideas in order to inspire conscious thinking and questioning. Felix was less interested in the extremes of one and another, (……) he was more interested in us being willing to engage with the grey areas. (……)

S: In addition to specifying the details and conditions of the work, the certificates of authenticity play an important role in emphasizing the ‘flexible parameters of place and interpretation’, an idea that is not only unconventional but also selflessly generous. Please give us your accounts on realizing these certificates.

A: It was part of Felix’s intention that the certificates would also evolve over time. The certificates, while in many ways quite specific, us a particular language that very purposefully leaves room for interpretation. Felix was very clear about what the nature of the work was, but once of the most fascinating aspects about working on the certificates is the realization that ideas, and our ability to describe the nuances of those ideas, shift and grow over time. (……)

S: Although the ‘public’ function of art was a contentiously debated issue at the time, Felix diverged from outright activist approach to exploring this idea. Instead he developed a unique, more poetic way of exposing the reality where the public sphere evades the private. Would you agree that this perhaps relates to the billboards?

A: More important than the significance of the number of billboard locations is that works are really meant to be in ‘”real” public spaces, where everybody can see them. When you put something in a museum, people assume that they have to understand it the way museum understands it. Placed in public, everyone can have a right to experience and interpret it on their own terms. The billboards are not displayed with accompanying text, so nothing is forced or taught. Again, this relates to the responsibility of the individual to form an opinion.



from the ‘Felix Gonzalez-Torres-Double’ catalogue.




10 Jul
 Text   and File Format


 Hana   Lee, Sujung Chang, Jenifer Byun, Joowon Jeon
 Image   and Caption  Julia   Han, Kelly, Yozeene Kim, Vera, Yeaeun Jung
 Editting  Julia   Han

 working title: GRAB – BRAG (if you have any ideas about the tile, please comment. like definition or anything else)






 Writing(serious) : This is subjected to change.
 Hana   Lee  Confession:  Felix   Gonzalez-Torres
 Sujung   Chang  Hidden   Track  Nam   June Paik
 Jennifer   Byun  Noh,   Jung Ha  Twisted
 Joowon   Jeon  Felix   Gonzalez-Torres  Hernan   Bass
 Julia   Han  All   about identity (especially, Korean-American Artist)
 Kelly  Non-serious   section (inter- culturalism )
 Yozeene   Kim  Doing   Doing  Il LEE
 Vera  Non-serious   section (inter- culturalism )
 Yeaeun   Jung  Doing   Doing  Twisted








Inkie Whang ‘평생 죽은듯 살았던 김 주검 씨, 죽어서 혀 빼물고 공중 부양하다. 기이하다., 2012’ and Maurizio Cattelan ‘Now, 2004’

6 Jul

It came to my mind when I see Hwang’s a casket work at the Seoul Museum of Art that Maurizio Cattelan’s Now.

* related exhibition: ‘SEMA Gold 2012: Hidden Track’

평생 죽은듯 살았던 김 주검 씨, 죽어서 혀 빼물고 공중 부양하다. 기이하다. Kim, Joo gum had lived his life like a dead person, bit his tongue and flew in the air. How strange.,  plastic blocks, 81x208x55cm, 2012

* 김 주검 Kim, Joo gum: Joo gum means a corps.

Maurizio Cattelan, Now, polyester resin, wax, human hair, clothes, 85 x 225 x 78 cm,  Courtesy of the artist and Marian Goodman Gallery, New York, 2004

5 Jul

How could you behave that way (내가 니를 어찌 키웠는데)

The exhibition ‘Twisted’ curated by the group of 17th interns (Ji-min Seo, Eui-Young Song, Soon-Bae Lee, Ji-Young Lee, Bum-Sik Choi) of at Sungkok Art Museum. The exhibition includes eleven young artists. The gallery spaces are divided into three rooms. In the first room, childhood is the main theme. There are four artists: Ji-Yang Lee, Gyo-Jin Kim, Su-mi Kyung, Suk-Geun Oh. In the second room, adolescence is the main theme. There are three artists: Kwang-Ki Lee, Jin-Ah Choi, Min-Jung Kang. In the third room, adulthood is the main theme. There are four artists: Young-Duck Seo, Ji-Yang Lee, Jong-Hoon Kim, Seung-Koo Han. As the exhibition shows human growth, it seems that the young artists and the young curators long for their maturity.

The work I was interested in the most is How could you behave that way by Kwang-ki Lee. All the moms in Korea tell their children this sentence when they are betrayed by their children. This sentence marks the beginning of a family war. An important thing you need to do at this time is running away from home. Then, you are the winner of the war, same as the old saying, ‘No parents win their children’. On the other hand, we claim the appropriate reasons of our runaway: one is that parents don’t understand us and another is that parents betrayed us. To reconcile with their children, parents try to contact and make them return, through their children’s friends’ help. Parents will say ‘how could you behave that way’ again, at their reunion, with thankful mind to their children’s coming. This sentence has been said twice at the important points in possessing the power of family’s politics: the beginning of the war and the reconciliation.

You can see this work along with the other work, Mom cheated me(나는 엄마에게 속았어요).

Lee, Kwang-ki, Mom cheated me, neon lights, 2011

Lee, Kwang-ki, How could you behave that way, neon lights, 2011

* exhibition period: June 15, 2012 – July 29, 2012