Lee Kun-Yong, Cloth — Ultramarine, 1974

Amidst these dynamic works, Slip Zone’s Korean pieces fail to get the blood moving much (though it is nice to see work from a country rarely-highlighted in American museums). Characteristic of this blandness are Kwon Young-Woo’s P80–103, from 1980, and Park Seo-Bo’s, Ecriture, from 1973. Both are monochrome wall pieces from the Tansaekhwa school that are neither compelling in their ideation nor arresting in their physical presence. The significant exception in the Korean work comes from an artist who falls outside the Tansaekhwa school.

Lee Kun-Yong’s, Cloth — Ultramarine, from 1974, is original in concept and execution. It gives us a trompe l’oeil representation of a blue cloth seemingly sagging on a wall, violated by a bright red-orange line that proves it’s not a hanging cloth at all.

https://ericjohnshaw.medium.com/tall-tales-at-the-dallas-museum-of-art-4a91a6107b9d

By Eric Shaw