통일일보
1980년 3월 5일 (수요일)
한국현대판화전 개막
다양한 기법을 추구
16일까지 도쿄·駒井화랑에서
한국의 중견·청년작가의 작품을 모은 한국현대판화전이 3일부터 도쿄·일본橋의 駒井화랑에서 열리고 있다.이 전시에는 약 70점의 작품이 출품되었으며, 다양한 기법과 표현을 통해 한국 판화의 현재를 보여주고 있다. 목판, 동판, 실크스크린 등 여러 기법이 사용되었으며, 각 작가들은 자신만의 독특한 조형 언어를 통해 작품을 선보이고 있다. 특히 색채의 대비와 화면 구성에서 강한 긴장감을 드러내는 작품들이 눈에 띈다. 또한 재료의 특성을 적극적으로 활용한 실험적인 시도들도 포함되어 있어 한국 판화의 발전 가능성을 엿볼 수 있다. 이번 전시는 한국과 일본 간의 미술 교류의 일환으로 기획되었으며, 양국 현대미술의 흐름을 이해하는 데 중요한 계기가 될 것으로 기대된다.
Tongil Ilbo
March 5, 1980 (Wednesday)
Korean Contemporary Printmaking Exhibition
Pursuing Diverse Techniques
Komai Gallery, Nihonbashi, Tokyo (through March 16)
A Korean Contemporary Printmaking Exhibition, featuring works by both established and emerging Korean artists, opened on March 3 at Komai Gallery in Nihonbashi, Tokyo. Approximately seventy works are presented, offering an overview of contemporary Korean printmaking through a wide range of techniques and expressive approaches. Media on view include woodcut, copperplate engraving, and silkscreen, with each artist articulating a distinct formal language.
Particularly notable are works that emphasize strong visual tension through contrasts of color and compositional structure. The exhibition also incorporates experimental practices that actively engage the material properties of each medium, suggesting the evolving potential of Korean printmaking. Organized as part of an ongoing cultural exchange between Korea and Japan, the exhibition provides an important context for understanding developments in contemporary art in both countries.
한국일보
1980년 11월 6일 (목요일)
新作美 넘치는 盛典
(신작미 넘치는 성전)
「方法論으로서의 美術 제시」
제7회 한국미술대상전이 열려 현대미술에서의 새로운 방법론과 방향을 제시하고 있다.
이번 전시는 작가들의 개성적인 시도와 다양한 표현 방식이 돋보이며, 특히 입체적인 화면 구성과 새로운 공간 창조에 대한 탐구가 두드러진다. 심사 과정에서는 대상 선정에 있어
우열을 가리기 어려워 3대 2의 의견으로 판정되었으며 결국 공동 수상 형태가 채택되었다.
금년 전시는 전반적으로 조형적인 실험성과 구조적 탐구가 강화된 양상을 보이며, 각 작가들은 자신만의 조형 언어를 구축하려는 의지가 강하게 나타났다. 특히 화면의 분할과 반복, 그리고 선의 긴장 관계를 중심으로 한 작업들이 주목을 받았다. 이러한 경향은 현대미술이 보다 자율적이고 구조적인 방향으로 나아가고 있음을 보여준다.
최우수 프린터상 (平面)
金泰浩 씨
Hankook Ilbo
November 6, 1980 (Thursday)
A Grand Exhibition Filled with the Beauty of New Works
(A Celebration Abundant in New Artistic Expression)
“Presenting Art as Methodology”
The 7th Korea Fine Arts Grand Exhibition has opened, proposing new methodologies and directions within contemporary art.
This exhibition highlights the artists’ individual approaches and diverse modes of expression. In particular, there is a notable emphasis on spatially constructed compositions and the exploration of newly conceived pictorial space. During the jury process, the selection of the Grand Prize proved inconclusive; with a divided vote of three to two, a joint award was ultimately adopted.
Overall, this year’s exhibition demonstrates a strengthened emphasis on formal experimentation and structural inquiry. The participating artists reveal a strong commitment to developing their own distinct formal languages. Works centered on the division and repetition of the pictorial field, as well as the tension of line, have drawn particular attention.
These tendencies suggest that contemporary art is moving toward a more autonomous and structurally oriented direction.
Best Printer Award (Two-Dimensional)
Kim Tae-ho
한국일보
1980년 11월 8일 (토요일)
새로운 공간 신선한 충격
제7회 한국미술대상전
현대미술의 정체를 밝혀주는 최고권위의 민전
덕수궁 국립현대미술관서 오는 19일까지 전시
Hankook Ilbo
November 8, 1980 (Saturday)
New Spatial Concepts, A Fresh Impact
The 7th Korea Fine Arts Grand Exhibition
The nation’s most authoritative public exhibition, illuminating the identity of contemporary art. On view at the National Museum of Modern Art, Deoksugung Palace, through the 19th.
한국타임즈
1980 11 22
한국미술대상전 작품 전시
가을의 국전이 막을 내린 가운데, 미술 애호가들을 위한 또 하나의 전시가 이어지고 있다. 제3회 한국미술대상전이 현재 서울 덕수궁 국립현대미술관에서 열리고 있으며, 11월 22일까지 계속된다.
이번 전시에는 총 773점의 출품작 중에서 선정된 99점의 작품이 전시되고 있으며, 추상과 구상 작품이 함께 포함되어 있다. 이 행사는 한국일보(코리아타임스의 자매지)가 주최하였다.
올해는 대상 수상작이 없었으며, 대신 은상 수상작 두 점이 선정되었다. 배동환의 「성지」와 오세열의 「다락방」이다.
은상 외에도 10점의 작품이 특별상(상금 150만 원)을 수상했다. 수상작은 다음과 같다:
홍종희 「나는 한국인, 연대기」, 김종근 「축적 43」, 오용길 「귀향 준비」, 장순업 「연과 학」, 어체길 「리듬 76-10B」, 김태호 「섀도우-7613」, 김태호 「형상 76-D」, 유민자 「초월」, 김석중 「태양을 향해」, 박동인 「정오의 반사」.
일간스포츠
1980년 11월 6일 (목요일)
제7회 한국미술대상전 발표
이번 전시에는 다양한 장르의 작품들이 포함되었으며,
특히 판화 부문에서는 김태호의 「형상 80-11」이
최우수 프린터상을 수상하였다.
수상작들은 20일부터 국립현대미술관에서 전시되며,
현대미술의 다양한 경향을 보여줄 것으로 기대된다.
이번 전시는 기존의 회화 중심에서 벗어나
비디오 작품 등 새로운 매체를 포함한
기획적인 구성을 시도한 것이 특징이다.
Ilgan Sports
November 6, 1980 (Thursday)
Announcement of the 7th Korea Fine Arts Grand Exhibition
This year’s exhibition includes works across a wide range of genres. In the printmaking category, Kim Tae-ho’s Form 80–11 was awarded the Best Printer Award. The winning works will be exhibited at the National Museum of Modern Art beginning on the 20th and are expected to reflect diverse trends in contemporary art.
Notably, the exhibition departs from a traditional painting-centered format, incorporating new media such as video works and presenting a more curated, interdisciplinary structure.
SPACE
Art, Architecture & Environment
No. 164, 1981
Consciousness Composed of Splinters of Shape
A Dialogue with a Young Artist (1): Kim Tae-ho
Date: January 15, 1981
Location: SPACE Magazine Conference Room
Participants:
Kim Tae-ho (Western painter; Lecturer, Hongik University)
Kim Kyung-soo (Art critic; Professor, Hongik University)
The relationship between the stripes of the blinds and the curves of the human figure produces a striking contrast.
Kim Kyung-soo: You began working actively in the early 1970s. Looking back, your participation in various group exhibitions and public shows was quite extensive. Would you say these experiences influenced the formation of your artistic language?
Kim Tae-ho: Our generation may not be unique in this, but we were always comparing ourselves with others and trying to find our own position within a broader movement. That process naturally pushed us toward forming a distinct visual language.
Kim Kyung-soo: Your works often emphasize structural repetition and formal organization. When did this tendency begin?
Kim Tae-ho: I started exhibiting regularly around 1974, and I’ve continued since then. The influence of earlier exhibitions was significant, but more importantly, I became increasingly focused on developing a personal system of form.
Kim Kyung-soo: Your work seems to move away from descriptive imagery toward a more autonomous structure. How would you describe this shift?
Kim Tae-ho: Rather than relying on narrative or symbolic meaning, I’m interested in the internal logic of form itself. The repetition of lines and the relationships between elements create a kind of visual tension that becomes the subject.
Kim Kyung-soo: The contrast between straight lines and curves is particularly striking. Is this intentional?
Kim Tae-ho: Yes. The contrast between geometric linear structures and organic curves creates a dynamic balance. It’s not about depicting objects, but about constructing a space where these tensions can exist.
Kim Kyung-soo: Your recent works seem to incorporate a stronger sense of spatial depth.
Kim Tae-ho: That’s true. Earlier works were more surface-oriented, but over time I became interested in how layered structures could create a sense of depth and movement.
Kim Kyung-soo: Would you say your work is still evolving?
Kim Tae-ho: Absolutely. I see my work as an ongoing process of refinement. Each piece is an attempt to clarify the relationships between form, space, and perception.
Mechanization of Form: The Human Figure
Kim Tae-ho’s work consistently explores form, yet it does not simply pursue naturalistic representation. Instead, it moves toward a constructed, artificial form. While the human figure serves as a point of departure, it is not depicted as a literal subject but rather functions as a structural element within the composition.
Through this process, the human body becomes abstracted and reinterpreted. The artist is less concerned with representing the human figure itself than with reorganizing it into a system of relationships—between structure, surface, and spatial tension.
Kim Kyung-soo: Your work seems to suggest a fragmentation of the human figure. Is this intentional?
Kim Tae-ho: Rather than fragmentation, I see it as a reinterpretation. The human body provides a familiar structure, but I reorganize it to explore formal relationships. It becomes a vehicle for constructing a new visual order.
Kim Kyung-soo: There appears to be a strong mechanical quality in your compositions.
Kim Tae-ho: Yes, but that does not mean I am interested in machines themselves. What interests me is the tension between the mechanical and the organic. The repetition of linear elements creates a system, while the underlying form introduces variation.
Kim Kyung-soo: Your use of repetition and layering seems central.
Kim Tae-ho: Repetition allows me to build structure. By layering lines and forms, I can create depth and a sense of movement. The image is not fixed—it shifts depending on how it is perceived.
Kim Kyung-soo: Does this relate to broader trends in contemporary art?
Kim Tae-ho: To some extent. There is a growing emphasis on process and structure rather than representation. However, I am not simply following a trend; I am trying to develop a consistent internal logic within my work.
Kim Kyung-soo: Your recent works appear more simplified.
Kim Tae-ho: Simplification is part of refinement. By reducing elements, I can clarify relationships and intensify the tension within the composition.
Subtle Transformation for Vitalizing Materials
Kim Kyung-soo: Your work seems grounded in methodology, yet it does not appear rigid. How do you approach material?
Kim Tae-ho: At first, I trusted the inherent properties of materials. But over time, I began to move beyond simply following them and instead sought to construct a new sense of material presence. What matters is not the material itself, but how it is transformed within the structure of the work.
Even when pursuing a consistent formal system, change is necessary. Without transformation, the work loses vitality. These changes may appear subtle, but they are essential.
On Process and Repetition
Kim Tae-ho: The act of working may appear simple, but in reality it involves a continuous process of adjustment. For example, in using spray techniques, I repeat actions many times—layering, removing, and reapplying. Through this process, unintended effects emerge.
These accidental results are not merely incidental; they become part of the structure of the work. However, chance alone is not sufficient—it must be integrated into a coherent system.
On Consciousness and Form
The image is not fixed but exists as a shifting perception. What appears on the surface is only one layer; beneath it lies another dimension shaped by the artist’s consciousness.
Form is not something imposed from outside but something that emerges through internal necessity. The artist’s task is to discover and refine this process.
Dialogue (selected excerpts)
Kim Kyung-soo: Your work seems to balance structure and contingency. How do you see this relationship?
Kim Tae-ho: Chance plays a role, but it must be controlled. I do not rely on randomness alone. Instead, I use it as one element within a larger framework.
Kim Kyung-soo: There is a sense of darkness or depth in your work.
Kim Tae-ho: That darkness is not simply visual—it reflects an internal state. It is not about depicting darkness, but about creating a condition in which perception becomes more intense.
Kim Kyung-soo: Would you say your work is tied to broader artistic trends?
Kim Tae-ho: While my work inevitably exists within a historical context, I am not trying to follow trends. What matters is developing a consistent internal logic.
한국일보
1981년 3월 5일 (목요일)
미술 話題
젊은 미술에 열기가 가득
한국 美術의 現住所 탐색
35세 미만 22人 초대
중앙일보
1981년 1월 9일 (금요일)
청년작가전
현대미술의 새로운 경향 제시
서울신문
1981년 11월 21일 (토요일)
외국 감각이 넘치는 신선한 화면
서울신문 창간 36주년 기념
초대전
11월 18일 ~ 23일
롯데화랑
Ilgan Sports (Nov 14, 1983)
Kim Tae-ho — “Form” Series (Print Exhibition)
Kim Tae-ho’s second print exhibition continues his long-standing exploration of structured image-making. His work emphasizes repetition, line, and segmentation to create tension within the picture plane. Since the 1970s, he has developed a consistent, disciplined visual language, further refined in this exhibition.
Dong-A Ilbo (Nov 15, 1983)
Kim Tae-ho — Painting and Print Together
Kim Tae-ho presents paintings and prints side by side, highlighting the continuity of his Form series across media. Built on repetition and geometric structure, his work demonstrates a unified formal system that extends beyond a single medium.