A recent report by the Korea Culture and Tourism Institute revealed that as of late last year, 20 major museums in North America collectively housed approximately 1,120 works of Korean contemporary art. However, the collection remains heavily focused on a select few artists, most of whom have had direct experience working in the United States.
According to the study titled Current Status and Expansion Strategies for Korean Contemporary Art in International Museums, prominent institutions like the Museum of Modern Art (MoMA), the Guggenheim Museum, and the Metropolitan Museum of Art hold a combined 1,118 works by 235 Korean artists. Notably, most acquisitions occurred after the 2000s, with 366 works added in the 2000s and 401 in the 2010s.
The report highlighted that photography accounts for the largest share of these collections (33%), followed by paintings (23%), prints (15%), and sculptures and media art (8% each). Among individual artists, Nam June Paik dominates with 164 works (14.6% of the total), followed by Haegue Yang with 45 works (4.0%) and Kim Ki Chan with 41 works (3.6%).
Houston’s Museum of Fine Arts holds the largest collection of Korean art among the surveyed institutions, with 153 pieces, including 27 by Haegue Yang and 11 by Kim Hong Seok. MoMA’s collection includes 107 works, with highlights such as 39 by Nam June Paik (including 14 collaborative pieces), 13 by Kim Beom, and six each by Haegue Yang and Suh Seung Kyung. The Smithsonian’s Hirshhorn Museum owns 34 Korean works, 14 of which are by Nikki Lee.
While the presence of Korean art in these institutions has grown, the report notes a disproportionate focus on a small number of established artists, most of whom were born in the 1930s and have extensive connections to the U.S. art scene. This narrow representation limits the diversity of Korean contemporary art showcased internationally.
Compounding the issue are practical challenges such as inconsistent English spellings of artist names and incomplete artist data, making it difficult for foreign institutions to accurately identify and represent Korean artists. Furthermore, the high market value of works by well-known artists, such as those associated with Dansaekhwa or experimental art, poses another barrier. Western collectors often question why lesser-known Korean art warrants such high prices compared to Western works of similar renown.
To address these challenges, the report recommends establishing a standardized database for Korean art and supporting research initiatives in museums that already own Korean works. It also proposes creating a dedicated art promotion body to raise funds, establishing a shared acquisition fund for Korean works, and forming a network of Korean-American curators in North America to advocate for broader representation.
These measures aim to not only increase the visibility of Korean contemporary art but also ensure a more balanced and sustainable approach to integrating it into global collections.
Sayart / Maria Kim, sayart2022@gmail.com
Courtesy of Guggenheim Museum
A recent report by the Korea Culture and Tourism Institute revealed that as of late last year, 20 major museums in North America collectively housed approximately 1,120 works of Korean contemporary art. However, the collection remains heavily focused on a select few artists, most of whom have had direct experience working in the United States.
According to the study titled Current Status and Expansion Strategies for Korean Contemporary Art in International Museums, prominent institutions like the Museum of Modern Art (MoMA), the Guggenheim Museum, and the Metropolitan Museum of Art hold a combined 1,118 works by 235 Korean artists. Notably, most acquisitions occurred after the 2000s, with 366 works added in the 2000s and 401 in the 2010s.
The report highlighted that photography accounts for the largest share of these collections (33%), followed by paintings (23%), prints (15%), and sculptures and media art (8% each). Among individual artists, Nam June Paik dominates with 164 works (14.6% of the total), followed by Haegue Yang with 45 works (4.0%) and Kim Ki Chan with 41 works (3.6%).
Houston’s Museum of Fine Arts holds the largest collection of Korean art among the surveyed institutions, with 153 pieces, including 27 by Haegue Yang and 11 by Kim Hong Seok. MoMA’s collection includes 107 works, with highlights such as 39 by Nam June Paik (including 14 collaborative pieces), 13 by Kim Beom, and six each by Haegue Yang and Suh Seung Kyung. The Smithsonian’s Hirshhorn Museum owns 34 Korean works, 14 of which are by Nikki Lee.
While the presence of Korean art in these institutions has grown, the report notes a disproportionate focus on a small number of established artists, most of whom were born in the 1930s and have extensive connections to the U.S. art scene. This narrow representation limits the diversity of Korean contemporary art showcased internationally.
Compounding the issue are practical challenges such as inconsistent English spellings of artist names and incomplete artist data, making it difficult for foreign institutions to accurately identify and represent Korean artists. Furthermore, the high market value of works by well-known artists, such as those associated with Dansaekhwa or experimental art, poses another barrier. Western collectors often question why lesser-known Korean art warrants such high prices compared to Western works of similar renown.
To address these challenges, the report recommends establishing a standardized database for Korean art and supporting research initiatives in museums that already own Korean works. It also proposes creating a dedicated art promotion body to raise funds, establishing a shared acquisition fund for Korean works, and forming a network of Korean-American curators in North America to advocate for broader representation.
These measures aim to not only increase the visibility of Korean contemporary art but also ensure a more balanced and sustainable approach to integrating it into global collections.
