출판사 리뷰
About the BookDedicated to bringing Korean sculpture — K-Sculpture — to the world stage through exhibitions and artist patronage, the K-SCULPTURE Organizing Committee (chaired by Yoon Youngdal, CEO of Crown-Haitai) has long championed this mission through exhibitions and the patronage of sculptors. Following K-SCULPTURE: Twenty-One Perspectives on Understanding Korean Sculpture (2023), K-SCULPTURE II: The Future of K-Sculpture Expanding Globally 1, and K-SCULPTURE III: The Future of K-Sculpture Expanding Globally 2, the Committee is pleased to present its fourth volume — K-SCULPTURE IV: The Future of K-Sculpture Expanding Globally 3. This edition brings together a selection of sculpture and art columns serialized in the Munhwa Ilbo throughout 2026. Twelve prominent Korean art critics each selected a sculptor to profile, offering in-depth perspectives on their artistic visions and practices. It illuminates the distinctive artistic worlds of Jeong Jeongju, Ahn Soojin, Bae Hyungkyung, Noh Jun, Park Choongheum, Park Wonjoo, Lim Sunyi, Kim Eull, Na Jeomsoo, Sim Seungwook, Kim Jooho, and Shin Jonghun—artists whose work has garnered recognition both in Korea and internationally. The book also features video interviews with all twelve artists, providing an intimate glimpse into their creative processes and insights. K-SCULPTURE IV: The Future of K-Sculpture Expanding Globally 3 is published in two editions — Korean and English — with the Korean edition further enriched by an accompanying audiobook.
■ 출판사 리뷰
Publisher’s Review
The Future of K-Sculpture, Through the Lens of SculptureWhere is Korean sculpture today, and where should it go from here? This question lies at the heart of K-SCULPTURE IV: The Future of K-Sculpture Expanding Globally 3. Twelve sculptors who embody the current landscape of Korean sculpture engage in dialogue with twelve leading art critics, together tracing the formative ideas woven into their works, the questions of our time that they confront, and the possibilities that await.
The sculptors featured in this volume—Jeong Jeongju, Ahn Soojin, Bae Hyungkyung, Noh Jun, Park Choongheum, Park Wonjoo, Lim Sunyi, Kim Eull, Na Jeomsoo, Sim Seungwook, Kim Jooho, and Shin Jonghun—have each developed a distinctive sculptural universe through their own materials, forms, themes, and methodologies. Light and space, body and being, matter and spirit, memory and anxiety, deconstruction and construction, Korean sensibility and contemporary experience—their works reveal the remarkable breadth of sculpture today, expanding its language into a multiplicity of voices and possibilities.
What distinguishes this book is that it goes beyond simply presenting the works. Each critic delves deeply into the artist’s world, exploring what sculpture seeks to express and how it engages with its audience. Artist interviews are woven throughout the book, offering readers direct access to the ideas, experiences, and creative processes behind each work—insights that the works themselves cannot fully reveal. The accompanying video interviews and audiobook further enrich the experience, inviting readers to encounter sculpture in a more immersive and multidimensional manner,
The K-SCULPTURE series has never been limited to raising awareness of the value of Korean sculpture at home; it has continually sought to develop a sculptural language capable of speaking to the world. Its fourth publication, K-SCULPTURE IV: The Future of K-Sculpture Expanding Globally 3, carries that vision forward. By bringing together artists with distinct identities and sculptural languages, the book offers a panoramic view of Korean sculpture today while considering, from within that broader perspective, the possibilities that K-Sculpture holds on the global art stage.
Sculpture is the art of shaping the sensibility of an era into matter. K-SCULPTURE IV: The Future of K-Sculpture Expanding Globally 3 records the present moment of Korean sculpture, drawing out the discourse within it to prepare for what lies ahead. May this book, forged jointly by twelve sculptors and twelve critics, serve as a fresh point of departure — for understanding where Korean sculpture stands today, and for envisioning where K-Sculpture might yet go.
■ 저자 소개고충환 / 미술평론가
Kho Chunghwan / Art critic
Kho Chunghwan graduated from the Department of Painting at Yeungnam University and received his master’s degree in Aesthetics from the Graduate School of Hongik University. In 1996, he launched his career as an art critic after winning the Chosun Ilbo New Year's Literary Awards with his piece Beyond the Phenomenology of Kitsch: Reading Kitsch in the Art of a New Generation. His work has since been recognized with the Sunggok Art Award (2001) and an Encouragement Prize in the Academic category of the Monthly Art Award, (2006). As a curator, he has organized Representation of Representation at the Sunggok Art Museum, The Contested Points of Criticism at the POSCO Art Museum, The Shell of Skin of Sculpture at the Moran Museum of Art, and Drawing Sculpture: A Castle in the Air at the Seoul Olympic Museum of Art (SOMA). He is the author of the book A Fearsome Depth and a Beautiful Surface (2006), and co-author of Korean Art Through the Lens of Criticism (2001).
김성호 / 평론가, 성신여대 초빙교수, 2026금강자연미술비엔날레 총감독
Kim Sungho / Art critic, visiting professor at Sungshin Women’s University, General Director of the 2026 Geumgang Nature Art Biennale.
Kim Sungho holds a B.A. in Western Painting and an M.A. in Culture and Arts from Chung-Ang University, completed the DEA in Philosophy from Paris X University, and received his Ph.D. in Aesthetics and Art Studies from Paris I University. He has served as Adjunct Professor in the Department of Western Painting at Chung-Ang University, Director of the Yeoju Art Museum, and Postdoctoral Researcher at the Ulsan National Institute of Science and Technology (UNIST). His curatorial leadership includes serving as Artistic Director and General Director of the 2020 Changwon Sculpture Biennale, the 2021 Gangwon International Triennale, and the 7th Anyang Public Art Project in 2023. He is the author of six books, including Artificial Intelligence and the Ontology of Images (2024), and twenty co-authored volumes, such as Curating Art (2022). In addition, eighteen of his research papers have appeared in indexed academic journals.
김정락 / 미술평론가
Kim Jungrak / Art critic
Kim Jungrak graduated from the College of Fine Arts at Seoul National University and earned his Ph.D. in Philosophy from the University of Freiburg in Germany. His professional roles include Chief Curator at the Kim Chong Yung Museum of Art and lecturer at institutions such as KAIST, Seoul National University, and Korea University. He has further served as Professor at Korea National Open University and as an Outside Director of Crown Confectionery Co., Ltd.
김종길 / 미술평론가
Gim Jonggil / Art critic
Gim Jonggil received his B.A. in Environmental Sculpture from the University of Seoul and an M.A. in Cultural Arts Management from Kyung Hee University, and pursued doctoral studies in Art Theory at Kookmin University. His research engages deeply with the social practice and spirituality of art, focusing on Minjung art, Shamanic Realism, and Buddhist art. By advancing site-oriented criticism, he contributes to the expansion of contemporary Korean art discourse, serving as a bridge between theory and practice.
김진하 / 미술평론가
Kim Jinha / Art critic
Kim Jinha graduated from the Department of Western Painting at the College of Fine Arts, Hongik University. Beginning in 1984 has pursued a multifaceted career as painter, printmaker, university lecturer, art critic, exhibition organizer, and publishing designer. He has presented two solo exhibitions and taken part in dozens of group shows as an artist, and published numerous critical studies of artists. As a curator, he has organized and overseen around 250 international and domestic exhibitions of varying scale. He has also served as Director of Art Consulting Seoul, Planning Director of the Korea Print Photography Promotion Association, and a civilian committee member of the Innovation Task Force at Arts Council Korea. At present, he leads Namu Art Gallery as its Director. His publications include Korean Modern and Contemporary Woodblock Prints in Publishing Art: Wooden Mirror and The Person Who Becomes Like a Tree: Woodblock Artist Kim Sangku. As editor, he has compiled works including The Return of Gildong: Shin Dong-woo and Gwanghwamun Art Action: One Hundred Days of Documentation.
류병학 / 미술평론가, 큐레이터
Ryu Byounghak / Art critic, curator
He graduated from the State Academy of Fine Arts Stuttgart in Germany and is active as an art critic and guest curator at Gallery R. In 1990 he received the IG Metall Prize in Germany, and in 2008 he was awarded the President Roh Moo-hyun Prize.
박춘호 / 김종영미술관 학예실장
Park Choonho / Chief Curator of the Kim Chong Yung Museum
Park Choonho graduated from the Department of Sculpture at Seoul National University and its graduate school, then moved to the United States in 1987, completing his M.F.A. at Pratt Institute in Brooklyn in 1992. Returning to Korea in 1994, he became a first-generation resident artist at the National Goyang Studio in 2005. He later pursued doctoral studies in the Interdisciplinary Program of Visual Culture at Korea University, earning his Ph.D. in Literature in August 2012 with the dissertation Epistemological Genealogy of Discourses in Modern Korean Art History: Focusing on Transformation in Visual Regimes and the Concept of Field
이선영 / 미술평론가
Lee Sunyoung / Art critic
Lee Sunyoung made her debut in 1994 through the Chosun Ilbo New Year’s Literary Contest in the art criticism category. She has served as an editor-in-chief of the web journal Art and Discourse and as editor-in-chief of Korean Journal of Art Criticism. Her accolades include the 1st Jeonggwan Kim Bokjin Theory Prize (2006), the Korean Art Critics Association Award in Theory (2009), and the AICA Young Critics Prize (2014). She currently contributes regular columns to Seoul Art Guide (www.daljin.com).
임성훈 / 미학자, 미술평론가
Lim Seonghoon / Aesthetician, art critic
Lim Seonghoon graduated from the Department of Aesthetics at Seoul National University and earned both his M.A. and Ph.D. from the Faculty of Cultural History and Theory at the Humboldt University of Berlin. He has served as a member of the Seoul Metropolitan Artworks Review Committee and as President of the Society of Contemporary Art Science. At present, he serves as Assistant Professor in the College of Creative Convergence at Sungshin Women’s University, holds the position of Vice President of the Europe Culture Arts Association, and works as Director of International Exchange for The Korean Society of Aesthetics and Science of Art.
정영목 / 미술평론가
Jung Youngmok / Art critic
Jung Youngmok served as Professor in the Department of Western Painting at Sookmyung Women’s University College of Fine Arts and at Seoul National University College of Fine Arts. At present, he is Professor Emeritus at Seoul National University and serves on the boards of the Chang Ucchin Foundation and the Yoo Youngkuk Art Foundation. He has held positions including inaugural president of the Korean Society of Art Theories, president of the Association of Western Art History, and director of the Seoul Mountain Climbing & Culture Center.
정하윤 / 미술평론가, 현대미술사 미술사학자
Jung Hayoon / Art critic, historian of contemporary art
Jung Hayoon holds a B.A in Painting and M. A. in Art History at Ewha Womans University. She earned her Ph.D. in Chinese Contemporary Art History at the University of California, San Diego. She currently teaches art history at the National Museum of Korea, the National Museum of Modern and Contemporary Art, and Ewha Womans University, while continuing her writing activities. Among her authored works are Ephemeral Painting, Eternal Sensibility – Impressionism, The Museum in Bloom, The Woman’s Museum, Curtain Call: Korean Contemporary Art, and To Those Beginning a Mother’s Time.
채길원 / 미술평론가
Chae Gilwon / Art critic
Chae Gilwon graduated from the Department of Sculpture at Seoul National University and completed an M. A. program in Art Studies at Hochschule fur Bildende Kunste Braunschweig in Germany. He has presented solo exhibitions such as Presentation and participated in group shows including SPIT JOHN. As curator, he has organized exhibitions for artists including Kim Mihyun, Park Doyoun, Shin Jonghun, Lee Sangyoon, and Kang Hoyeon. He currently serves as curator at the Kim Chong Yung Museum.
Jeong Jeongju’s art opens onto an extraordinary realm of illusion—shifting between the conceptual play of light as “abstract illusion” and the “figurative representation” in which surveillance cameras capture the interiors and exteriors of architectural models, projecting their real-time footage across museum walls. Equally striking is the sublime that arises when actual space—the architectural model—and represented space—the projected image—intersect and encroach upon one another, unsettling perception through their collision. Jeong Jeongju pushes this further by orchestrating a near-magical “apparatus of the gaze,” one that captures and reflects the audience back onto themselves, transforming the viewer into the viewed. This sculptural apparatus compels the viewer to oscillate endlessly between the thresholds of unreality and reality, abstraction and figuration, space and subject—initiating a continual meditation on the landscape of reality and the very question of human subjectivity.
**Excerpt from A World of Illusion Mediated by Light: Jeong JeongjuThe prone and crouched body, refusing external command and abstaining from competition, rejects the ingrained imperative of the “upright body” imposed by power and institution. It is in this very mode of refusal that the authentic political force of Bae Hyungkyung’s sculpture resides. Standing before these works, the viewer is no longer a safe or detached observer. Moving among the figures, one becomes newly aware of the posture one’s own body inhabits. In that moment, the sculpture acts as a mirror of existence — stirring, unsettling, and awakening the viewer’s unconscious habits of being.
**Excerpt from Forms That Sustain the Burden of Existence: Bae Hyungkyung
작가 소개
지은이 : 정영목
서울대학교 미술대학 서양화과 명예교수. 미국 일리노이주립대학에서 미술사학을 전공하고 동대학교 대학원 미술사학과에서 석사 및 박사학위를 취득했다. 서울대학교 미술대학 서양화과 교수, 서울대학교 미술관장, 서울대학교 조형연구소 소장, 서양미술사학회, 한국미술이론학회 회장을 지냈다. 평론 활동과 함께 2013년 국립현대미술관 서울관 개관전인 《Zeitgeist, 시대정신》, 고려대학교 박물관의 《한국전쟁 정전60주년 특별전: 기억·재현, 서용선과 6·25》, 2010년 《노란선을 넘어서》(노무현 전 대통령 서거 1주기 추모전) 등 다수의 전시를 기획했다. 지은 책으로 『화가 김병기, 현대회화의 달인』, 『시선의 정치: 서용선의 작품세계』, 『장욱진 catalogue raisonne』 『단순한 사람, 장욱진』 등의 있다.
지은이 : 류병학
미술평론가, 큐레이터독일 슈투트가르트 국립예술대학을 졸업했다. 미술평론가와 갤러리R 객원 큐레이터로 활동하고 있다. 1990년 독일 금속노조상(IG Metall Prize), 2008년 노무현 대통령상을 수상했다.
지은이 : 고충환
미술평론가영남대학교 회화과와 홍익대학교 대학원 미학과를 졸업했다. 1996년 조선일보 신춘문예 미술평론으로 등단했으며, 2001년 성곡미술대상과 2006년 월간미술대상 학술 부문 장려상을 수상했다. 저서로 『무서운 깊이와 아름다운 표면』(2006)과 공저로 『비평으로 본 한국미술』(2001)이 있다.
지은이 : 김정락
미술평론가서울대학교 미술대학을 졸업하고 독일 프라이부르크대학 철학부에서 철학박사 학위를 받았다. 김종영미술관 학예실장을 지냈고, 카이스트, 서울대학교, 고려대학교 등에 출강했다. 한국방송통신대학 교수와 크라운제과(주) 사외이사를 역임했다.
지은이 : 김종길
국민대에서 미술이론 박사과정을 수료했 다. 1989년 문화패 갯돌 산하 미술패 대반동에 들어가 활동했고, 해원 씻김굿 형식의 실험극 「숲」을 쓰고 연출했다. 이후 큐레이터, 미술평론가로 살면서 우리 근현대사의 옹이진 사건들과 생태미학에 주목하며 행위예술, 민중미술, 제주4·3미술, 자연미술, 바깥미술 등을 연구하고 있다. 녹색대학에서 강의했고, 성프란시스대학, 경기지역 자활 인문학, 지순협 대안대학, 다사리문화기획학교, 하늘배곧의 생성과 기획에 참여했다. 모란미술관, 경기문화재단, 경기도미술관에서 일하며 <경기천년도큐페스타: 경기 아카이브_지금,>, <시점(時點)·시점(視點)—1980년대 소집단 미 술운동 아카이브> 등을 기획했고, 저서로 『포스트 민중미술 샤먼 리얼리즘』(2013), 『한국현대미술연대기 1987–2017』(2018) 등이 있다. 모란미술관 학예연구사, 경기문화재단 전문위원을 역임하고, 현재 경기문화재단 정책실장으로 재직 중이다. 한국미술평론가협회 신인평론상, 김복진 미술이론상, 자연미술이론연구상, 올해의 큐레이터, 월간미술대상 전시 기획부분 장려상, 이동석전시기획상 등을 수상했다.
지은이 : 김진하
1961년에 태어났다. 홍익대학교 서양학과를 졸업하고 2회의 개인전과 수십여 회의 단체전에 참가했다. 이후 우리 미술의 제도적인 발전과, 기획시스템의 필요성을 절감하고 전시기획을 시작했다. 현재는 우리미술연구소 품의 소장, 나무화랑 대표로 있다. 영상, 회화, 조각, 도예, 판화, 만화 등의 다양한 장르에서 80여회의 크고 작은 전시를 기획하며 전시기획가로 활동해왔다. 저서로는 『출판미술로 본 한국 근.현대 목판화 1883~2007: 나무거울』이 있으며, 엮은 책으로 『한국현대목판화 1975~2006: 한국현대목판화 1975~2006: 木印千江之曲』, 신동우 자료집 『길동이의 귀환』 등이 있다
지은이 : 임성훈
미학자, 미술평론가서울대학교 미학과를 졸업하고 독일 베를린 훔볼트대학교 문화학부에서 석사와 박사를 취득했다. 서울시 미술작품심의위원회 위원과 현대미술학회 회장을 역임했고, 현재는 성신여자대학교 창의융합학부 조교수, 유럽문화예술학회 부회장 등으로 활동하고 있다.
지은이 : 정하윤
현대미술사 미술사학자. 이화여자대학교 회화과와 같은 대학원 미술사학과를 졸업하고, 캘리포니아 주립대학 샌디에이고 캠퍼스에서 중국 현대미술사로 박사학위를 받았다. 돌아와 이화여자대학교 등에서 미술사를 강의하며, 집필 활동을 하고 있다. 지은 책으로 『엄마의 시간을 시작하는 당신에게』 『커튼콜 한국 현대미술』 『여자의 미술관』 등이 있다.정원 미술관 조성 프로젝트에 참여하며, 수많은 정원과 꽃을 만났다. 그림 속에서 아름다운 배경으로만 생각했던 꽃이 눈에 들어오기 시작했다. “꽃을 보고자 하는 사람에게는 어디에나 꽃이 있다”고 한 앙리 마티스의 말을 떠올린 저자는 꽃 그림을 연구했고, 이 책에 그 결과를 담아 그림을 보는 새로운 관점을 선보인다.
지은이 : 김성호
미술평론가, 2026금강자연미술비엔날레 총감독중앙대 서양화과 학사, 동대학원 문화예술학과 석사, 파리10대학 철학과 예비박사학위(DEA), 파리1대학 미학 전공 미학예술학 박사를 취득했다. 2020창원조각비엔날레, 2021강원국제트리엔날레, 제7회 안양공공예술프로젝트(2023) 등에서 총감독 및 예술감독으로 일했다.『인공지능과 이미지 존재론』(2024) 등 6권의 저서와 Curating Art(2022) 등 20권의 공저서를 출간했다.
지은이 : 박춘호
김종영미술관 학예실장서울대학교 미술대학 조소과와 같은 대학원을 졸업하고, 프랫인스티튜트에서 M·F·A를 마쳤다. 2005년 국립고양스튜디오 1기 입주작가로 활동하다가 고려대학교 문과대학 영상문화학협동과정에 입학해서 「한국근대미술사 담론의 인식론적 계보학 : 시각체제의 변동과 장개념을 중심으로」라는 논문으로 문학박사 학위를 받았다.
지은이 : 이선영
미술평론가1994년 조선일보 신춘문예 미술평론 부문으로 등단했다. 웹진 『미술과 담론』 편집위원과 『미술평단』 편집장을 역임했다. 제1회 정관 김복진 이론상(2006), 한국 미술평론가 협회상(이론부문)(2009), AICA Prizes for Young Critics(2014)를 수상했다. 현재는 서울아트가이드(www.daljin.com)에 정기적으로 칼럼을 기고하고 있다.
지은이 : 채길원
미술평론가서울대학교 조소과를 졸업하고 독일 Hochschule fur Bildende Kunste Braunschweig 예술학 마스터(Master)를 수료했다. ‘Presentation’ 등의 개인전과 ‘SPIT JOHN’ 등의 단체전에 참여했다. 김미현, 박도윤, 신종훈, 이상윤, 강호연 작가의 단체전과 개인전을 기획했다. 현재는 김종영미술관 학예사로 활동하고 있다.
