Yun Hyong-keun

One of the most significant Korean artists of the twentieth century, Yun Hyong-keun (1928-2007) completed his studies in Seoul following the Korean War. From the 1960s onwards, he became associated with the influential Dansaekhwa or "monochrome painting" movement, which prioritized technique and process.

 

Using a restricted palette, Yun applied layers of pigment to raw canvas in vertical or horizontal bands interspersed with blank space; working on his studio floor, he diluted the paint with turpentine so that it would gradually bleed into the support. On a visit to New York in 1974, Yun met Donald Judd, who was to host his first solo exhibitions in the United States at his spaces at 101 Spring Street in New York and at the Chinati Foundation in Marfa in Texas during the 1990s.

 

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For more information about available works, please contact inquiries@davidzwirner.com

Location

537 West 20th Street
New York
XX

Dates

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Yun Hyong-keun
Burnt Umber & Ultramarine, 1976
71 1/2 x 90 1/4 x 1 1/4 inches (181.6 x 229.2 x 3.2 cm)

This is the gallery’s first exhibition of Yun’s work since announcing representation of his work in New York, and the largest ever show by the artist in North America. Made in the 1970s and 1980s, the paintings on view reflect Yun's search for a balance between the material and immaterial.

Yun Hyong-keun
Umber-Blue, 1977
80 5/8 x 55 3/4 x 1 1/4 inches (204.8 x 141.6 x 3.2 cm)
Yun Hyong-keun
Burnt Umber & Ultramarine, 1978
72 1/2 x 90 3/4 x 1 1/4 inches (184.2 x 230.5 x 3.2 cm)
Yun Hyong-keun
Umber-Blue, 1978
110 1/4 x 59 3/8 x 1 1/4 inches (280 x 150.8 x 3.2 cm)
Yun Hyong-keun
Burnt Umber & Ultramarine Blue, 1988
89 1/4 x 63 3/4 x 1 7/8 inches (226.7 x 161.9 x 4.8 cm)
Yun Hyong-keun
Umber, 1988-1989
80 3/4 x 131 1/4 x 2 3/4 inches (205.1 x 333.4 x 7 cm)
Yun Hyong-keun
Burnt Umber, 1989
81 x 131 1/4 x 2 3/4 inches (205.7 x 333.4 x 7 cm)