Catalog (29)

Bodhisattva by Choi Dae Shik aka Daniel Choi, Set of Ten Paper on Wood Sculpture, as featured in SOFA, Sculptural Objects and Functional Art, the premier gallery-presented art fair dedicated to three-dimensional art and design. Each one has a hook on the back, so they may also be displayed hanging on the wall. 10 inches (25.5 cm) tall.

Dragon Skies set of 10 paintings created in 2004 by Renowned Korean Artist Don Ahn aka Ahn Dong Kuk (1937-2013). We encourage you to research Don Ahn's sales record and market prices on sites such as Artsy, so you can appreciate what a great opportunity this is to purchase an original work of art by the master at a price well below the actual value. The second photo here pairs the 10 paintings with the 10 Bodhisattvas by Choi Dae Shik that are on this website for $2500. Both sets may be purchased at the discounted price of $3000. Don Ahn was a pioneer of Korean art in America. In the 1950s he was the first to move permanently to the US and receive recognition here, beginning with the 1952 exhibition of his work at the Kilbride Bradley Gallery in Minneapolis, the very first exhibition of Korean contemporary art in America. His work is in the permanent collection of the Museum of Modern Art in New York, and other major museums. There was recently an exhibition of Don Ahn's work at the Walter Wickiser Gallery in New York's Chelsea art district. Acrylic on paper. Frames: from 14.25 x 11.25 to 8.5 x 8.25 inches (36 x 28.5 to 21.5 x 21 cm); Paintings: from 7 x 3 to 3 x 3 inches (18 x 7.5 to 7.5 x 7.5 cm). See also preeminent art critic Holland Cotter's review of Don Ahn's work in the April 4, 1997 New York Times article, Of Asians Among the Abstractionists, where he describes Don's paintings as "Exuberant" and "Inspired by Zen brushwork".

Assembled Spirits by Ahn Moon Hoon. A very large painting, Frame: 75.75 x 60.5 inches, 192.5 x 154.5 cm; Painting: 64.5 x 49 inches, 164 x 124.5 cm. Paintings by Ahn Moon Hoon sell very well at auctions in Korea. His popularity is attributed to the deeply spiritual nature of his paintings, and his textured, three-dimensional paper surfaces. This really is an exceptional example of his work, with a beautifully saturated palette and a vibrant aura. The design and colors of the large wood frame are also wonderful. The asking price here is much lower than it would be at auction in Korea, especially for such a fine and very large example.

Oil Painting by Jeon Joon Yeop. 29 x 21 inches, 73 x 53 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 36 x 25.5 inches, 91 x 65 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 46 x 32 inches, 117 x 81 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 46 x 32 inches, 117 x 81 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 64 x 38 inches, 162 x 97 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 29 x 21 inches, 73 x 53 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 29 x 21 inches, 73 x 53 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 29 x 21 inches, 73 x 53 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 36 x 25.5 inches, 91 x 65 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 36 x 25.5 inches, 91 x 65 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Lee Seung O's innovative paper assemblage, 24 x 18 inches, 61 x 46 cm. Lee's work is in the permanent collection of many major museums, including the National Museum of Contemporary Art in Seoul, and he has an excellent auction record, with not a single work going unsold in the many major auctions that have listed his work over the last several years, including Christie's. It is said of Lee Seung O that he is an old spirit with a young mind. While so many young Korean artists are looking to the West for guidance, Lee has found inspiration in the soulful symbolism of traditional Korean folk art. His work is a most inventive and unrestrained interpretation of this tradition, true to the creative spirit of Korean folk art. He has created an entirely new technique of stacking colored paper and wetting the stacks so that they will be stuck together when they dry, then cutting the stacks into strips, and then assembling 'painting-like' compositions that use the edge of the stacks of paper, creating exciting works of great textural density. His work uses an everyday material to make us look at objects (and the world) from a different viewpoint and in an entirely new way, reminding us that innovation and beauty shouldn’t be forced or contrived and needn’t be sought in unknown regions, but can be rooted in tradition and found naturally.

Lee Seung O's innovative paper assemblage, 36 x 18.5 inches, 91 x 47 cm. Lee's work is in the permanent collection of many major museums, including the National Museum of Contemporary Art in Seoul, and he has an excellent auction record, with not a single work going unsold in the many major auctions that have listed his work over the last several years, including Christie's. It is said of Lee Seung O that he is an old spirit with a young mind. While so many young Korean artists are looking to the West for guidance, Lee has found inspiration in the soulful symbolism of traditional Korean folk art. His work is a most inventive and unrestrained interpretation of this tradition, true to the creative spirit of Korean folk art. He has created an entirely new technique of stacking colored paper and wetting the stacks so that they will be stuck together when they dry, then cutting the stacks into strips, and then assembling 'painting-like' compositions that use the edge of the stacks of paper, creating exciting works of great textural density. His work uses an everyday material to make us look at objects (and the world) from a different viewpoint and in an entirely new way, reminding us that innovation and beauty shouldn’t be forced or contrived and needn’t be sought in unknown regions, but can be rooted in tradition and found naturally.

Lee Seung O's innovative paper assemblage, 36 x 26 inches, 91 x 66 cm. Lee's work is in the permanent collection of many major museums, including the National Museum of Contemporary Art in Seoul, and he has an excellent auction record, with not a single work going unsold in the many major auctions that have listed his work over the last several years, including Christie's. It is said of Lee Seung O that he is an old spirit with a young mind. While so many young Korean artists are looking to the West for guidance, Lee has found inspiration in the soulful symbolism of traditional Korean folk art. His work is a most inventive and unrestrained interpretation of this tradition, true to the creative spirit of Korean folk art. He has created an entirely new technique of stacking colored paper and wetting the stacks so that they will be stuck together when they dry, then cutting the stacks into strips, and then assembling 'painting-like' compositions that use the edge of the stacks of paper, creating exciting works of great textural density. His work uses an everyday material to make us look at objects (and the world) from a different viewpoint and in an entirely new way, reminding us that innovation and beauty shouldn’t be forced or contrived and needn’t be sought in unknown regions, but can be rooted in tradition and found naturally.

Lee Seung O's innovative paper assemblage, 36 x 28.75 inches, 91 x 73 cm. Lee's work is in the permanent collection of many major museums, including the National Museum of Contemporary Art in Seoul, and he has an excellent auction record, with not a single work going unsold in the many major auctions that have listed his work over the last several years, including Christie's. It is said of Lee Seung O that he is an old spirit with a young mind. While so many young Korean artists are looking to the West for guidance, Lee has found inspiration in the soulful symbolism of traditional Korean folk art. His work is a most inventive and unrestrained interpretation of this tradition, true to the creative spirit of Korean folk art. He has created an entirely new technique of stacking colored paper and wetting the stacks so that they will be stuck together when they dry, then cutting the stacks into strips, and then assembling 'painting-like' compositions that use the edge of the stacks of paper, creating exciting works of great textural density. His work uses an everyday material to make us look at objects (and the world) from a different viewpoint and in an entirely new way, reminding us that innovation and beauty shouldn’t be forced or contrived and needn’t be sought in unknown regions, but can be rooted in tradition and found naturally.

Lee Seung O's innovative paper assemblage, 37.5 x 33.5 inches, 95.25 x 85 cm. Lee's work is in the permanent collection of many major museums, including the National Museum of Contemporary Art in Seoul, and he has an excellent auction record, with not a single work going unsold in the many major auctions that have listed his work over the last several years, including Christie's. It is said of Lee Seung O that he is an old spirit with a young mind. While so many young Korean artists are looking to the West for guidance, Lee has found inspiration in the soulful symbolism of traditional Korean folk art. His work is a most inventive and unrestrained interpretation of this tradition, true to the creative spirit of Korean folk art. He has created an entirely new technique of stacking colored paper and wetting the stacks so that they will be stuck together when they dry, then cutting the stacks into strips, and then assembling 'painting-like' compositions that use the edge of the stacks of paper, creating exciting works of great textural density. His work uses an everyday material to make us look at objects (and the world) from a different viewpoint and in an entirely new way, reminding us that innovation and beauty shouldn’t be forced or contrived and needn’t be sought in unknown regions, but can be rooted in tradition and found naturally.