Installation view of “Suki Seokyeong Kang,” running through June 15, at Tina Kim Gallery in New York / Courtesy of the artist and Tina Kim Gallery
By Kwon Mee-yoo
Tina Kim, founder and director of Tina Kim Gallery in New York / Courtesy of Tina Kim Gallery
NEW YORK — In the bustling world of contemporary art, few names resonate like Tina Kim, the visionary behind Tina Kim Gallery in New York City. Coinciding with Frieze New York, Kim shared her gallery’s pivotal role in bringing Korean art to the global stage and her insights into the evolving art market.
Tina Kim Gallery, established in 2001 in Chelsea, Manhattan, has become a hub for cultural exchange, fostering Korean artists’ presence in the global art scene. It began with a commitment to introduce Western audiences to Korean art, which was largely unrecognized in the international arena at that time.
“When I first opened my gallery on 25th Street, there were other Korean galleries around, but they eventually pulled back. I’m proud that through my efforts, many Korean artists’ works have been acquired by museums,” Kim reflected on the gallery’s evolution and her pride in the success of Korean artists abroad during an interview with The Korea Times at her gallery, April 26.
Tina Kim Gallery’s booth at Frieze New York 2024, which runs from May 1-5 / Courtesy of Tina Kim Gallery
Promoting diversity
Ahead of Frieze New York, which runs from Wednesday to Sunday, Kim shared her perspective on the importance of art fairs.
“Art fairs are not just about sales,” she said. “They’re about creating dialogues, sparking interest and educating collectors and the public about new talents.”
This year at Frieze New York, Tina Kim Gallery features a varied collection of works from notable artists like Pacita Abad, Suki Seokyeong Kang and Mire Lee. These works engage with the complexities of global and regional tensions, showcasing the gallery’s dedication to diversity and inclusion.
The gallery is mounting a solo show for Kang to align with Frieze New York, featuring many pieces from her recent exhibition at Seoul’s Leeum Museum of Art.
“Kang’s integration of traditional Korean culture, music and choreography into her work captivates many curators, leading to acquisitions by prominent institutions like San Francisco Museum of Modern Art, Los Angeles County Museum of Art and Museum Of Contemporary Art Chicago,” Kim noted. “Her exhibit ‘Willow Drum Oriole’ was a highlight during Frieze Seoul, but by hosting this exhibition in New York now, we aim to introduce Kang’s unique artistry to a broader audience, especially those who missed the chance to see her work in Seoul.”
Kim explained that Kang’s work is rooted in traditional training while engaging with contemporary life, exploring how we navigate boundaries and reconcile tradition with rapid changes of modern time.
“This resonates strongly with the younger generation,” Kim said. “Every culture has its traditions, and figuring out how to engage with these traditions in today’s fast-paced world is a vital question.”
The owner also pointed out that from an academic perspective, curators are drawn to how Kang seamlessly connects traditional and contemporary elements in her art.
Installation view of Pacita Abad’s “Colors of My Dream” at Tina Kim Gallery in New York / Courtesy of Tina Kim Gallery
A significant part of Tina Kim Gallery’s mission is to amplify voices that are often underrepresented. Kim is particularly passionate about promoting women and Asian artists.
“I don’t specifically seek out women artists, but I am naturally drawn to works that resonate with me, and often they are created by women. It happens organically,”’ she said. “Among Korean artists, those I choose to represent often reflect on the era in ways that resonate with me.”
The gallery has been instrumental in introducing artists like Park Chan-kyong, Chung Seoyoung, and Minouk Lim to Western audiences, whose works delve into Korean history and contemporary issues.
“Since leaving Korea in 1986 and living in the States, I’ve been somewhat removed from Korea’s ongoing social issues. Initially, I was puzzled why artists continued to dwell on such themes, but then I realized that they were addressing ongoing conflicts in Korea through their work.”
Kim believes that such artworks have a universal appeal, particularly in regions experiencing socio-political tensions, as they echo the broader issues faced by many countries in today’s global context.
“Having been active in the U.S. for over two decades, I feel a strong sense of responsibility as an Asian-American gallerist here,” she said. “By showcasing Asian and Asian diaspora artists, my gallery not only honors its roots but also enhances its international profile.”
“Dansaekhwa” exhibition as a collateral event of the 2015 Venice Biennale / Courtesy of Tina Kim Gallery
‘Dansaekhwa’ on world stage
Kim, a second-generation gallerist, often works in partnership with Kukje Gallery in Korea, managed by her mother, Lee Hyun-sook.
“While both of us interact with an international audience, our exhibition programs are designed to resonate particularly with our local viewers. My exhibitions in New York are crafted to appeal to visitors from the city, mainly American and European collectors, and I maintain close partnerships with U.S. institutions,” she said. “On the other hand, Kukje Gallery’s audience consists mainly of Koreans with substantial connections to museums in the region.”
She recalled one of her proudest moments, staging a “Dansaekhwa” (Korean monochrome painting) show as a collateral event for the Venice Biennale in 2015, which became a momentous rediscovery of the Korean art movement from the 1970s, highlighting the meditative nature of repetition.
Her journey began with a tour she led for a group of museum directors, curators and board members through Seoul’s vibrant art landscape as they were en route to the Gwangju Biennale.
“I was like a tour guide of Korean art as many curators asked me which exhibition to see and which Korean artist to look out for,” she said.
The idea to promote Dansaekhwa more broadly emerged around the time art historian Joan Kee published a paper on the subject, which coincided with Lee Ufan’s notable solo exhibition at the Guggenheim. Recognizing the growing curiosity and academic interest in Korean art, Kim saw an opportunity to further elevate this genre on the world stage.
With a clear vision, Kim proposed the idea of bringing the Dansaekhwa exhibition to an international audience and suggested a collateral exhibit at the Venice Biennale.
“I managed to find a non-profit partner and venue for the exhibit in an incredibly short amount of time with a bit of luck,” she said, emphasizing the swift execution that led to the successful showcase of Dansaekhwa on the global stage.
This endeavor was one of her major undertakings, coinciding with relocating her New York gallery.
“After the Venice exhibit, I came home and just broke down in tears,” she said. “It felt like moving mountains, literally shovel by shovel. It was a profound realization that where there’s a will, there’s a way.”
Facade of Tina Kim Gallery in Chelsea, New York / Courtesy of Tina Kim Gallery
Strategic leadership
Recently, Kim has been invited to lecture at top universities, where she discussed the rapid rise of the Korean art market.
“There’s a real thirst to understand how Korean art has become a powerhouse so quickly,” she said. “Korean art has become a kind of case study.”
Kim emphasized the strategic partnerships with major institutions as key to her gallery’s success, which allowed it to make significant inroads in the international art market. Moreover, Kim has become the go-to person for museum curators and directors in the United States who are interested in Korean art or planning visits to Korea.
“Anyone coming to Seoul for art often seeks my advice for recommendations. I also assist museums looking to partner with Korean institutions for exhibitions, helping them navigate the complexities of securing support and funding from Korean organizations such as the Korea Foundation (KF) and Korea Arts Management Service,” she said. “Moreover, many Korean corporations such as Samsung, Hyundai and LG have a strong presence in the corporate sponsorship of cultural institutions. Thus, many museums are eager to explore opportunities in Korea to build their network and establish a robust Korean program.”
Installation view of Mire Lee’s “Carriers” at Tina Kim Gallery, New York / Courtesy of the artist and Tina Kim Gallery
After the 25th anniversary of the Korea Gallery at the Metropolitan Museum of Art, last autumn, Kim noted that it was supported by the KF and began to explore which other institutions had received similar backing.
“Institutions that receive support from Korea should deepen their engagement with Korean art and artists,” she said. “I think it is crucial to cultivate more curators who specialize in Korean art, whose studies encompass the wider spectrum of Southeast Asian Art, including Indonesia, the Philippines and Thailand. While there is already a significant number of curators proficient in East Asian art, diversifying expertise would afford them a broader scope of opportunities.”