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His nationality. He vehemently denied at the interview with Korean journal that his nationality is Japanese. He holds Korean nationality.
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{{Merge from|Lee Ufan|discuss=Talk:Lee U-Fan#Merger proposal|date=August 2011}}
{{Merge from|Lee Ufan|discuss=Talk:Lee U-Fan#Merger proposal|date=August 2011}}


'''Lee U-Fan''' (or Ou-Fan, or U-Hwan, born 1936) is a [[Korea]]n born [[Japan]]ese minimalist painter and sculptor<ref>[http://findarticles.com/p/articles/mi_m1248/is_7_91/ai_104836759 Felicity Fenner, ''Art in America'', July, 2003],</ref> and leader of the Japanese material school Monoha in the late 1960s. Lee advocated a methodology of de-westernization and demodernization in both theory and practice as an antidote to the [[Eurocentric]] thought of 1960s [[postwar]] Japanese society. Lee divides his time between Kamakura, Japan and Paris, France.
'''Lee U-Fan''' (or Ou-Fan, or U-Hwan, born 1936) is a [[Korean]].<ref>돌·쇠’로 우주 삼라만상 얘기할 수 있더라 (Aug 27, 2009), [http://www.hani.co.kr/arti/culture/music/373509.html] ''Hankyoreh''.</ref> minimalist painter and sculptor<ref>[http://findarticles.com/p/articles/mi_m1248/is_7_91/ai_104836759 Felicity Fenner, ''Art in America'', July, 2003],</ref> and leader of the Japanese material school Monoha in the late 1960s. Lee advocated a methodology of de-westernization and demodernization in both theory and practice as an antidote to the [[Eurocentric]] thought of 1960s [[postwar]] Japanese society. Lee divides his time between Kamakura, Japan and Paris, France.
[[File:Lee Ufan Relatum with four stones and four irons 1978.jpg|thumb|Lee Ufan Relatum with four stones and four irons 1978]]
[[File:Lee Ufan Relatum with four stones and four irons 1978.jpg|thumb|Lee Ufan Relatum with four stones and four irons 1978]]


Revision as of 02:49, 6 September 2011

Lee U-Fan (or Ou-Fan, or U-Hwan, born 1936) is a Korean.[1] minimalist painter and sculptor[2] and leader of the Japanese material school Monoha in the late 1960s. Lee advocated a methodology of de-westernization and demodernization in both theory and practice as an antidote to the Eurocentric thought of 1960s postwar Japanese society. Lee divides his time between Kamakura, Japan and Paris, France.

Lee Ufan Relatum with four stones and four irons 1978

Work

Born in Haman-gun, Gyeongsang Nam-do, a remote village of South Korea, in 1936, Lee Ufan was raised by his parents and Confucianist grandfather. Lee studied painting at the College of Fine Arts at Seoul National University for just two months and, in 1956, moved to Japan, where he earned a degree in philosophy in 1961.[3] Whilst studying philosophy Ufan painted in a restrained, traditional Japanese style, eschewing the expressive abstraction of the contemporary Japanese Gutai movement.[4]

Lee spent his early working years pursuing careers as an art critic, philosopher, and artist.[5] In Japan he became an active participant in the countercultural upheavals surrounding the Anpo Movement of the 1960s.[6] He came to prominence in the late 1960s as one of the founders and theoretical leaders of the avant garde Mono-ha (Object School) group.[7] Monoha was inspired by the Arte Povera movement of the 1960s and 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 goal was to embrace the world at large and encourage the fluid coexistence of numerous beings, concepts, and experiences. Lee U-fan's position in the philosophy department at Nihon University in Tokyo earned him a distinguished role as the movement's spokesman. In the early 1970s he was appointed Professor of Tama Art University in Tokyo until 2007.[8] Yoshio Itagaki was one of his students in 1989-1991. He is Professor emeritus at Tama Art University.

Lee was also a pivotal figure in the Korean tansaekhwa (monochrome painting) school, which offered a fresh approach to minimalist abstraction by presenting repetitive gestural marks as bodily records of time’s perpetual passage.[9] In his early painting series, From Point and From Line (1972–84), Lee combines ground mineral pigment with animal-skin glue, traditional to East Asian painting on silk. Each brushstroke is applied slowly and is composed of several layers. Where the brush first makes contact with the canvas, the paint is thick, forming a 'ridge' that gradually becomes lighter. Rarely does his brush touch the surface more than three times.[10] The artist refers to this as yohaku or the art of emptiness.[11] In the From Point works he adopted a similar method in order to produce a fading series of small, discrete, rectangular brushstokes.[12] In 1991 Lee began his series of Correspondance paintings, which consist of just one or two grey-blue brushstrokes, made of a mixture of oil and crushed stone pigment, applied onto a large white surface. On average it takes Lee about a month to finish a painting, on canvases that typically measure about 60 by 90 inches, although they can vary in size from a few inches to 10 feet per side. He completes no more than 25 works a year.[13]

Lee's sculptures, presenting dispersed arrangements of stones together with industrial materials like steel plates, rubber sheets, and glass panes, recast the discrete object as a network of relations based on parity between the viewer, materials, and site. In his sculptural series Relatum, each work consists of one or more light-colored round stones and dark, rectangular iron plates.[14]

Exhibitions

From his first solo exhibition in Japan in 1967, Lee Ufan was invited by Manfred Schneckenburger to participate in Documenta VI (1977) in Kassel, and in 1969 and 1973 he represented Korea in the Bienal de São Paulo.[15] His work was included in the 1992 Tate Liverpool exhibition, "Working With Nature: Traditional Thought in Contemporary Art from Korea", the first major survey of Korean art shown in Britain.[16] In 1997 he had a solo exhibition at the Jeu de Paume, Paris and in 2001 the Kunstmuseum Bonn held a major retrospective of his work. Major exhibitions of Lee's painting and sculpture were later held at the Yokohama Museum of Art in 2005 and the Musée d'art Moderne Saint-Etienne in France in December 2005. The Kunst Situation, a museum associated with Ruhr University Bochum in Germany, opened in 2006 with a gallery devoted to a permanent installation of Lee Ufan's paintings and a garden of his sculpture. However, it was Lee’s "Resonance" exhibition at Palazzo Palumbo Fossati during the 2007 Venice Biennale that won him critical acclaim and a wider audience.[17] In 2011, the Guggenheim Museum in New York opened Lee's largest retrospective in the United States.

Lee’s primary dealers are Pace Gallery, in New York; Kukje, in Seoul; Scai the Bathhouse, in Tokyo; and Lisson Gallery, in London.

Collections

Lee is represented in major museum collections including: MoMA, New York; Guggenheim Museum, New York; Centre Georges Pompidou, Paris; Tate Gallery, London; Kröller-Müller Museum, Otterlo Holland; the National Museums of Modern Art in Tokyo, Kyoto and Osaka. His work is also held in the permanent collection of the Hiroshima City Museum of Contemporary Art.[18]

Recognition

In 1997 Lee was invited to serve as visiting professor at the Ecole Nationale Supérieure des Beaux-Arts in Paris. He received the UNESCO Prize at the Shanghai Biennale in 2000; the Ho-Am Prize of the Samsung Foundation in Korea in 2001; and the 13th Praemium Imperiale for painting in 2001. In 2010, the Lee Ufan Museum, a building designed by Tadao Ando and operated by Benesse, opened on the island of Naoshima, Japan.[19]

At auction

Lee's paintings regularly fetch six-figure dollar sums at auction. A 1980 canvas with a series of vertical blue lines, for example, went for $410,000 at Sotheby's in New York in 2010.[20]

References

  1. ^ 돌·쇠’로 우주 삼라만상 얘기할 수 있더라 (Aug 27, 2009), [1] Hankyoreh.
  2. ^ Felicity Fenner, Art in America, July, 2003,
  3. ^ Lee Ufan: Marking Infinity, June 24 – September 28, 2011 Guggenheim Museum, New York.
  4. ^ Lee Ufan Tate Collection.
  5. ^ Benjamin Genocchio (May 15, 2011), Lee Ufan ARTINFO.
  6. ^ Ken Johnson (June 23, 2011), A Fine Line: Style or Philosophy New York Times.
  7. ^ Nancy Kapitanoff (March 31, 1991), Japan Exports Different Perspective with Museum Exhibit Los Angeles Times.
  8. ^ Lee Ufan, September 3 - October 2, 2009 Galerie Thaddeus Ropac, Paris.
  9. ^ Lee Ufan: Marking Infinity, June 24 – September 28, 2011 Guggenheim Museum, New York.
  10. ^ Lee Ufan, April 2 - May 10, 2008 Lisson Gallery, London.
  11. ^ [Lee Ufan, From Line, 1978] Christie's Post War and Contemporary Art Afternoon Session, 14 November 2007, New York.
  12. ^ Lee Ufan Tate Collection.
  13. ^ Benjamin Genocchio (May 15, 2011), Lee Ufan ARTINFO.
  14. ^ Lee Ufan Lisson Gallery, London.
  15. ^ Lee Ufan, January 21 - February 28, 2004 Lisson Gallery, London.
  16. ^ Tate Liverpool exhibition information
  17. ^ Benjamin Genocchio (May 15, 2011), Lee Ufan ARTINFO.
  18. ^ Hiroshama City Museum of Contemporary Art website
  19. ^ Lee Ufan Museum
  20. ^ Edan Corkill (August 1, 2010), Korean at the forefront of Japan's modern art The Japan Times.

Bibliography:

  • Lee Ufan: The Art of Encounter, London 2008.
  • S. von Berswordt-Wallrabe: Lee Ufan. Encounters with the Other, Steidl, Goettingen, 2008.

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