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Korean Art Programs at LACMA

In the museum, cultural displays and public programming are constantly changing and evolving. Accordingly, the Los Angeles County Museum of Art (LACMA) is continuously being transformed through its architecture, displays, and programming content. The museum has sought to explore and experiment with new methodologies in the display of artworks from all periods and cultures.



One of LACMA’s recent transformation projects was the new Korean art galleries, which opened in September 2009, representing the largest space devoted to Korean art outside of Korea. Organized thematically, the expanded space features a number of innovative elements, such as video didactic panels, which have received a positive response from viewers. The galleries, situated in a prominent location off LACMA’s main plaza, have attracted numerous visitors who have experienced and appreciated Korean art. In April 2010, the galleries attracted 6,788 visitors, a significant number that demonstrates the success of the museum’s renovation program. The fact that over 260 people per day came to see potentially unfamiliar art s suggests that our new approaches to present Korean art and culture, outside of Korea, have been effective.

The notable components of the Korean art program at LACMA include exhibitions, public programs, and special events. The reopening of the Korean art permanent collection coincided with a special exhibition of Korean contemporary art, “Your Bright Future: 12 Contemporary Artists from Korea,” an event generously sponsored by the Korea Foundation. In conjunction with this, the museum organized a special Late Night Art program, a popular event particularly among younger audiences. The festival, titled “Korea: Future/Pas,” featured various activities related to Korean culture, including music and dance performances, art making, and in-gallery readings. The galleries remained open until midnight, and the attendance for one day reached 2,100 visitors.

Various small-scale events, with more focused themes, have also been undertaken. To commemorate the opening of the new Korean art galleries, the iconic Pensive Bodhisattva from the late 6th century (National Treasure of Korea number 78) was loaned by the National Museum of Korea. After installing the national treasure, I invited local monks for a special private ceremony in the gallery to dedicate the space. In response to public demand for a similar event, I planned a large public farewell ceremony before returning the religious icon to Korea. This time, LACMA invited the wellknown American-born Korean monk, Venerable Monk Hyongak, to perform the rites. During both ceremonies, visitors were privileged to experience the elegant Buddhist sculpture, along with a ritual suggestive of its original context.

The museum’s public programs include educational lectures and art classes. Within the Korean art galleries, an area is allocated for a children’s gallery and hands-on space, where visitors of all ages can use Asian-style brushes and draw images inspired by the artworks on display in adjacent galleries. In addition, on each Sunday in September 2009, the museum organized Family Days that featured Korean art making, crafts, and music performances. Since the reopening of the Korean art galleries, ongoing public lectures have been presented to illuminate the loans on view in the gallery. The first lecture, by Professor You Hongjune, provided an overview of Buddhist temple architecture and sculpture to complement the temporary display of the Pensive Bodhisattva. Venerable Monk Hyongak, in addition to the above-mentioned ceremony, participated in a public discussion, during which time I posed questions on Buddhist philosophy and the function of religious icons. The discussion was followed by a book signing of “Wanting Enlightenment Is a Big Mistake: Teachings of Zen Master Seung Sahn,” which was sold out before the event.
The second loan project shown at the Korean art galleries featured royal paintings from the National Palace Museum of Korea. The two strikingly colorful screens of the Sun, Moon and Five Peaks, rare works associated with the king, impressed visitors with their uniquely Korean iconography and contemporary sensitivity. A lecture on the art and culture of the Joseon court by Kim Yeon-soo, chief curator of the National Palace Museum of Korea, illustrated how the screens can be best understood from a context of the court’s protocol, philosophy, aesthetics, and politics. This lecture, sponsored by the Korea Foundation, marked the launch of a new series of exciting programs.



The future promises even more dynamic Korea-related activities at LACMA thanks to the Korea Foundation, which has generously committed to support three small loan exhibitions from Korea, along with related programs. The first, currently on view, features another two magnificent court paintings of the Ten Symbols of Longevity, also from National Palace Museum of Korea. Next, opening in July 2010, the museum will present four exquisite gilt-painted Buddhist sutras from the Goryeo period, loaned by Dongguk University Art Museum and a private collection in Korea. This theme of Buddhist sutras will be accompanied by two lectures and a demonstration of sutra-making in the galleries. The third exhibition, opening in 2011 will highlight Korean furniture and ceramics, derived from a collection of the Amore Pacific Museum of Art. Each exhibition is supplemented with video didactic explanations on a flat panel display, which provides in-depth illustrations of each theme and the original context of the artworks.

Since its reopening on September 9, 2009, LACMA’s new Korean art galleries have been alive and energetic. Important rare loans from Korea and related programs have allowed the traditional art installations to reach out and a dialogue directly with visitors. The constant changes in the gallery – rotating loans from Korea and light-sensitive rotations for paintings – make the gallery a living, organic space. A deeper understanding and experience lead to a more personal and vivid connection to culture. In this process, a dynamic environment is crucial, and today’s museums need to seek more engaging and innovative programming.

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