Monochrom in Korea (2012, Mainz)
Group exhibition featuring Kim Tae Ho alongside Chae Sung-Pil, Kim Dae-Soo, and Nam Tchun-Mo. Held June 16–July 20, 2012 at Galerie Dorothea van der Koelen (Mainz, Germany), presenting Korean monochrome painting. Opening attended by Korean Embassy cultural director Yun Jong-Seok; curated with Kim Soon Joo.
Busan Ilbo (Sept 4, 2015)
Kim Tae Ho’s retrospective at Busan Museum of Art presents ~80 works spanning 30 years.
Known for building and carving layered paint, his practice evolves from figuration to Internal Rhythm, emphasizing material accumulation, structure, and disciplined spatial order.
Kukje Shinmun (Sept 14, 2015)
Busan Museum’s regional artist series highlights Kim’s solo show, tracing his shift from figure painting to process-based abstraction. His Internal Rhythm works create space through repeated layering and removal, revealing subtle color variations and controlled construction behind seemingly minimal surfaces.
Munhwa Ilbo | No. 7076 | March 21, 2016 (Mon)
“Let’s revive the economy”
The birthplace of masterpieces… peeking into those mysterious spaces
Artist Kim Tae-ho is working in his atelier.
The studio is a place where self-discipline and repetition—like training—take place.
He is producing his Internal Rhythm series by applying paint onto the canvas.
KOREA ECONOMIC DAILY | Oct 10, 2016
Chagall, Nam June Paik, Chung Sang-hwa… A ‘grand stage’ of over 5,000 artworks opens”
More than 5,000 artworks by internationally renowned artists—including Marc Chagall, Nam June Paik, and Chung Sang-hwa—will be presented at the Korea International Art Fair (KIAF), held at COEX from the 13th to 16th. The event, the largest art market in Korea, brings together 170 galleries from Korea and abroad, with around 1,000 international collectors invited.
Alongside blue-chip masters, contemporary Korean artists take part in shaping the fair’s current direction. Among them, Kim Tae-ho, recognized as a leading figure of post-Dansaekhwa, prepares his works in his studio ahead of the exhibition. His participation reflects the continued evolution of Korean abstract painting within both domestic and global contexts.
Positioned as a meeting point between the established and the emerging, KIAF underscores Seoul’s growing role as a central hub in the Asian art market.
KOREA ECONOMIC DAILY | Oct 31, 2016
As the art market shifts, Dansaekhwa and abstract painting (once considered in decline) are resurging, with a new generation of around 30 artists emerging at the forefront. While first-generation Dansaekhwa masters such as Kim Whanki, Park Seo-bo, and Chung Sang-hwa continue to command high prices at auction, attention is increasingly turning to younger and mid-career artists expanding the movement’s reach.
Artists including Kim Tae-ho and Oh Se-yeol are gaining traction as key figures in this transition. Positioned between tradition and experimentation, they reinterpret Dansaekhwa’s formal language while adapting it to contemporary market demands. Galleries, both domestic and international, are actively promoting these artists, broadening the category from its original monochrome roots into wider forms of abstraction.
Major galleries such as Gallery Hyundai and Kukje Gallery are leading this push, organizing exhibitions and strategically positioning artists to meet growing global demand. Recent sales and exhibitions indicate rising prices, with some works increasing by 20–30 percent, signaling strong collector interest.
As international attention toward Korean art continues to expand, industry figures note that abstract painting—rather than traditional Dansaekhwa alone—is becoming the dominant framework. Within this shift, artists like Kim Tae-ho are seen as central to shaping the next phase of the market, bridging the legacy of Dansaekhwa with a broader, more globally accessible visual language.
Joong Ang Ilbo | Jan 9, 2017
At the LA Art Show, Korean Dansaekhwa is presented as a major force in elevating the global status of Korean art. The exhibition highlights both first-generation masters and contemporary artists, including Kim Tae-ho, whose work emphasizes inner rhythm through layered color, texture, and surface.
Kim describes his Internal Rhythm series as a process of repetition and labor, where subtle variations in color and material convey emotional depth and the flow of inner sensation. His work reflects a shift from traditional Dansaekhwa toward a more expanded abstract language.
Amid growing international interest, the exhibition underscores how Korean artists—across generations—are gaining recognition, with Dansaekhwa serving as a key bridge between tradition and contemporary global art.
Moonwha Ilbo | Feb, 26, 2018
Marking nearly 50 years of practice, Kim Tae-ho’s work is presented as a culmination of sustained discipline—repeatedly applying, scraping, and carving paint to build dense, layered surfaces. His Internal Rhythm series reveals hidden colors beneath these layers, forming intricate, almost cellular structures that pulse with subtle variation.
Rather than remaining within traditional monochrome painting, Kim pushes beyond flatness, using texture, grid-like marks, and accumulated material to create a sense of vibration and inner movement. His process—both physical and meditative—is described as a form of long-term “training,” where time and labor become integral to the work itself.
The exhibition positions his paintings as the result of decades of refinement, capturing not just visual form but the quiet intensity and rhythm embedded in the act of making.