This study is the attempt to show that New Realism Group(herein referred to as NRG, 1947-53) aimed experimental abstraction based Korean-modernity led by the founders, Kim WhanKi and Yoo YoungKuk. The study pays attention to interaction with writers of Pure Literature(herein referred to as WPL) such as Kim DongRi, Cho YeonHyun, Cho JiHun shared the appreciation of autonomy of art with NRG.
The NRG was a small art group in which abstraction and figuration coexisted. This singularity of NRG, un-unified diversity, shows that they were supportive of formative sense sought experimental art. Especially narrative characteristics, appearance of traditional, natural subject and return to the form afterward, in the founders abstraction is due to seek the abstraction driven by local distinctiveness.
Dabangs (Korean kind of teahouses in that time) were definitely the important space of Korean modern art history. As the contact point of replacing rare telephone, it became the stronghold of intellectuals and artists who needed library and office. The most influential founder in NRG, Kim WhanKi’s most-visited Dabangs were hangout of WPL. So he could get opportunities to make cover designs, illustrations and essays in the publication.
Writers interacting with him who formed the theoretical foundation of Pure Literature and made art works actively based on their theory. WPL claimed that novelty is only possible, through tapping into tradition. On the basis of this sense, WPL tried to create the autonomous literature, through tapping into oriental ideas and aesthetics in korean tradition.
The founders have formed autonomous art group influenced by WPL"s slogan of ‘pure literature spirit’. And they tried to seek the new type of art on the basis of pure art as ethical standards. Their works as a example of pure art were ‘experimental abstract’ based on the newly recognized Korean-modernity, meaning rediscovered tradition and experienced nature in their time. And ‘tradition and nature’ distinguished in their works was relevant to the sense of the times in which it is recognized as new pictorial modernity and embodied as the modern form.
In conclusion, the founders, Kim WhanKi and Yoo YoungKuk tried to do experiment with abstraction in searching for form of art internalized Korean-modernity which was newly recognized since Korean liberation. Their formative thoughts and effort obtained the substantial support of figurative artists, who joined NRG afterward.
Therefore un-integrated diversity of NRG can be interpreted as diverse attempts made under the formative goal, exploration of Korean modernity and pursuit of experimental art, not as weakness of art movement.