Leading international gallerists gathered to discuss the remarkable transformation of Korean design from relative obscurity to global prominence, examining how social media has reshaped traditional pathways between artists and collectors. The panel discussion, held as part of Design Miami.In Situ Seoul's first Design Talk session, brought together industry veterans who have championed Korean artists for decades, offering insights into the evolving landscape of design representation and market dynamics.
The conversation highlighted the exponential growth of Korean design's international presence over recent years. Design Miami CEO Jen Roberts observed that Korean designers now have significantly expanded representation at major international art fairs. "We're now finding many international galleries exhibiting Korean designers – both the more recognized, established ones, but also many emerging talents," she explained, noting the dramatic shift from earlier periods when Korean artists had limited global exposure.
Zesty Meyers, co-founder of New York-based R & Co., reflected on his pioneering efforts to introduce Korean artists to American audiences beginning in 1997. "There was no internet, very little access to books to gain history from anywhere," Meyers recalled, describing the challenges of early cross-cultural artistic exchange. His gallery's early representation of groundbreaking Korean artists like Lee Hun-Chung played a crucial role in connecting the Seoul and New York design scenes during a time when such international bridges were rare.
Simon Stewart of London's Charles Burnand Gallery, which currently represents six Korean artists, emphasized the exceptional material mastery that characterizes Korean design practice. "These are people who've spent many years mastering their craft," Stewart said, highlighting the dedication and skill level of Korean artists. He detailed the extended development timeline required for artists to achieve international market readiness, citing New York-based Korean sculptor Kim Hee-chan's 18-month journey as an example of the careful preparation needed for global success.
From a local market perspective, Gallery Sklo director Kim Hyo-jung provided insights into Korea's rapidly evolving art collecting scene. "The Korean art market has grown tremendously, especially over the past three years with Frieze," she noted, referencing the international art fair's impact on local market development. However, she identified persistent challenges in collector attitudes and preferences that affect different art forms.
Kim observed that many Korean collectors approach art primarily as an investment vehicle, with design and craft receiving less attention than traditional painting and sculpture. "There's this mindset where people ask about resale value before anything else. They want to know if a piece will double in value, not whether it speaks to them personally," she explained. "So painting gets all the attention because it seems safer financially, while design and craft – however exceptional – struggle to find buyers who appreciate it for what it is."
The discussion repeatedly addressed how social media platforms have fundamentally altered traditional relationships between artists, galleries, and collectors. Stewart noted that all six Korean artists represented by his gallery had gained significant traction through social media platforms, demonstrating the power of digital exposure. However, he cautioned against expecting immediate commercial success, emphasizing that "building careers takes many years – the commercial aspect requires thoughtful development."
The evolution of collecting practices has accompanied these technological changes. Stewart suggested that the definition of a collector has become more inclusive, potentially encompassing anyone with "three or more of one thing." Roberts observed that contemporary buyers tend to follow personal instincts rather than adhering to rigid collecting categories. "Today's collectors are finding objects that resonate personally – sometimes in dialogue with each other, sometimes not," she said, describing a more intuitive approach to art acquisition.
When addressing whether galleries remain relevant in an era when artists can directly engage audiences through Instagram and other platforms, the panelists unanimously defended the continued importance of traditional representation. Despite social media's prominence, they insisted that galleries provide essential institutional validation that remains crucial for marketplace success.
Kim offered a particularly direct assessment of galleries' continued relevance: "Without galleries, breaking into the international stage is virtually impossible. Major fairs don't invite individual artists – they invite galleries based on trust and track record." This institutional gatekeeping function, she argued, cannot be replicated through direct social media engagement alone.
Meyers explained how galleries have evolved beyond simple commercial transactions to provide comprehensive artist support systems. "Our goal is if you want to be a maker, you should be a maker and not a businessperson," he said. "We want to be your talent agency – bringing together legal teams, logistics experts, whatever's needed to help realize dreams." This expanded role addresses the complex logistical challenges artists face when attempting to establish international market presence independently.
The discussion concluded with optimistic projections for Korean design's future trajectory. Meyers directly addressed the Korean audience with an encouraging message: "Don't underestimate the power of Korean design. Culture is always the first representation of change – we have greater importance in driving good out into the world." This sentiment reflected the panel's overall confidence in Korean design's continued global expansion and cultural influence.
