Entertainment
Upheaval wrestles with tradition in Korean art of the 1960s and ’70s at the Hammer Museum
Seoul is the latest major city to establish itself as a significant international hub for new art. With that distinction comes the expected propagation of ambitious museum exhibitions seeking to articulate, illuminate and cogitate over its local history of modern art, which is little known.
“Only the Young: Experimental Art in Korea, 1960s-1970s” is the latest. It follows “The Space Between: The Modern in Korean Art,” which a year ago covered 1897 to 1965 at the Los Angeles County Museum of Art.
“Only the Young,” organized last year by the Solomon R. Guggenheim Museum in New York, working with Korea’s National Museum of Modern and Contemporary Art, is at the UCLA Hammer Museum in Westwood through May 12. It’s the first show of its kind in North America. With 29 artists and nine artist groups, the exhibition is anchored by varieties of Conceptual art, which became the leading form internationally in the decades under review. The result is work that feels at once recognizable and unfamiliar, which sometimes makes for a bit of a tough haul, if also a nicely curious experience.
The history of the participating Korean museum suggests some of what you’ll find explored in the show. The institution, founded in 1969, smack in the middle of the exhibition timeline, has now branched out into four satellites — Gwacheon, Deoksugung, Cheongju and Seoul, most of them in and around the nation’s capital. Those sites represent shifting centers of power, influence and reigning cultural philosophy within the country, beginning with the isolationist Joseon dynasty that ruled for half a millennium, before the tumultuous modern era.
Of the 29 artists, all but two, Jung Kangja and Lee Hyangmi, are men. That’s one indication of the deep social conservatism of an era of rebuilding after the Korean War, which was led by strongman Park Chung Hee. His tenure — Park took power in a 1961 military coup and was assassinated while still in office in 1979 — brackets the show’s “experimental” era.
A timeline of Korean performance art leads to Song Burnsoo’s “Take Cover I-V,” five silkscreen images.
(Christopher Knight / Los Angeles Times)
Jung’s participation in a satirical 1968 performance stands out. In a happening that parodied academic female nudes painted by men, her male colleagues, Chung Chanseung and Kang Kukjin, attached transparent balloons to her semi-naked body. The balloons then were popped, one by one, to fully expose the 26-year-old artist.
A hit with their avant-garde coterie, partly for its virtually unprecedented feminist insistence on a living, breathing woman’s centrality to the project, the event didn’t go down well everywhere, including in a scandalized Korean popular press. (Police were also on hand to observe.) Two years later, annoyed authorities shuttered a survey exhibition of Jung’s work.
Jung, Chung and Kang had all been students in the department of Western painting at Seoul’s Hongik University. That such a department existed shows where certain official Asian ambitions lay: The Western establishment was the standard for what “modern” meant. Many young Korean artists worked in groups, affiliated formally or loosely, which may suggest just how minimized experimentation was. (There’s strength in numbers.) Amid churning local political controversies around national identity, the students surely were looking to developments in Europe and the United States for artistic inspiration, with contemporary art magazines as a guide.
At the Hammer, “Transparent Balloons and Nude” is represented by a slightly blurry photograph, displayed with other still and video images of performance art in a helpful timeline that spreads across a wall. The performance indicates obvious debts to slightly earlier Western works.
Among them are Yves Klein’s 1960 performance in Paris, “Anthropometry of the Blue Period,” in which nude women were slathered in blue paint and then imprinted their bodies on canvas; and Yoko Ono’s 1964 “Cut Piece,” first performed in Tokyo and then London and New York (at Carnegie Hall, no less), where she sat alone on a stage while members of the audience were invited to come up and cut off pieces of her clothing. Neither of these cutting-edge Western precedents required police to be in attendance, which yields dramatic — and courageous — resonance for the Koreans’ performance.
Park Hyunki, “Untitled (TV Stone Tower),” 1982, mixed media.
(Hammer Museum)
L.A. is home to the largest Korean diaspora, but the country’s history, which may or may not be familiar to Hammer visitors, illuminates what artists were up to. It was not always to profound effect. For instance, Andy Warhol is an obvious marker for Song Burnsoo’s “Take Cover I-V,” five silkscreen images that repeat a gas-masked face, its sequence of solid colors representing coded government alarms related to threats from North Korea. The work’s Pop social commentary is pretty thin.
More intriguing is Park Hyunki’s “Untitled (TV Stone Tower),” which inserts a television monitor within a short stack of hefty stones, surrounded by additional scattered rocks. (Here the show fudges a bit, since the work is dated 1982.) In this Brancusi-inflected “endless column,” commercially produced and ephemeral mass imagery is juxtaposed with an actual, if abbreviated, mass drawn from nature, creating an oddly poignant sense of loss. The effect is only enhanced by learning from the show’s excellent catalog that Park’s composition refers to traditional Korean doltap, stone piles erected at temples to drive away evil spirits.
Two of the show’s simplest works are among its most hauntingly beautiful. Lee Seung-taek’s “Tied Ceramic” and Ha Chong-Hyun’s “Work 73-13” both date from the early 1970s, a time of serious national distress that included ramifications from participation in the Vietnam War.
“Tied Ceramic” leaves the tracks of a rope that, before firing in a kiln, were wound around a white porcelain moon jar, an exquisite traditional form highly revered during the premodern Joseon dynasty. The wrapping marks, cut into the clay like a memory made concrete, oscillate between signs of painful bondage and a warm embrace, a tension both social and artistic in 1970s Korean culture.
Lee Seung-taek, “Tied Ceramic,” 1975, porcelain.
(Christopher Knight / Los Angeles Times)
“Work 73-13” is a large, earthy, monochrome abstraction, its mottled muddy color achieved by pushing brown oil paint through rough jute from behind. Almost 4 feet tall and nearly 8 feet wide, the plane is wrapped in a strict grid of barbed wire. The aesthetic effect is of nature, tradition, human effort and modernity imprisoned but unstoppable. It will all ooze out.
A kind of exclamation point marks the final room, where a tall, severed tree stump rises from a big, precisely carved cube made of soil, gravel and concrete. Lee Kun-Yong’s sculpture “Corporal Term,” which sits atop a wooden pallet, is remade whenever it is shown, its natural elements scavenged from local sources. (A Hammer label is careful to note that this particular tangled stump was found as is; no trees were harmed to make the art.) The title “Corporal Term” describes the bodily lifespan of the sculpture, the human effort to fabricate the form, the viewer’s experience of it — even, perhaps, the long arc of Korean history that has brought the object here. The work is a lovely meditation on mortality and endurance.
Kim Kulim, who worked in Los Angeles in the 1990s, emerges from “Only the Young” as an essential artist for the experimental activity that erupted in 1960s Korea. At the show’s entrance, his painting “Death of the Sun II” (1964) is a scarred, all-black panel, made from paint covered with a petroleum-doused vinyl sheet that was set on fire and then smothered. The battered panel — painting as performance art — takes a cue from Shōzō Shimamoto, Saburō Murakami and other Gutai aesthetics of 1950s Japan, which emerged from the apocalyptic ruins of Hiroshima and Nagasaki.
Ha Chong-Hyun, “Work 73-13,” 1973, mixed media.
(Ariel Ione Williams)
“Death of the Sun II” metaphorically destroys both the revered Korean tradition of black ink painting and modern Western abstraction, whose epitome was said to be the structural void represented by the all-black paintings of 1950s American artists Robert Rauschenberg, Ad Reinhardt, Mark Rothko and Frank Stella. As the show unfolds, Kim turns up in several disparate guises — making films, producing happenings, wiring a big electrified panel of dancing lights — leaving one to wonder what a full solo retrospective might reveal.
Conceptual art was both an extension and a critique of modernism. A common though mistaken assumption is that varieties of Conceptual art erupted in New York and eventually spread out to cover the art globe, as Abstract Expressionist, Pop, Minimal and street art are often erroneously claimed to have done. Rather than representing a cultural center and its periphery, however, the artistic shift in the 20th century’s second half had multiple points of origin all over the globe. Seoul and its environs formed one of them. “Only the Young” does an admirable job of presenting the Korean dialect of Conceptual art’s emergent international language.
‘Only the Young: Experimental Art in Korea, 1960s-1970s’
Where: UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood
When: Through May 12. 11 a.m. to 6 p.m. Tuesdays to Sundays, 11 a.m. to 8 p.m. Fridays; closed Mondays
Admission: Free
Info: hammer.ucla.edu, (310) 443-7000
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
Several private equity firms and Hollywood power players, including United Talent Agency and longtime agent Patrick Whitesell, have expressed interest in buying parts of Casey Wasserman’s music and sports management firm after it abruptly went up for sale.
Wasserman became ensnared in controversy earlier this year after his salacious decades-old emails to Ghislaine Maxwell, an accomplice of child sex offender Jeffrey Epstein, were released as part of the U.S. Justice Department’s trove of Epstein files.
The agency auction is in the early stages, according to three people close to the process but not authorized to comment.
Earlier this week, several interested parties submitted proposals to meet a preliminary deadline in the auction, two of the sources said.
The company, which changed its name to the Team last month, is expected to be valued at around $3 billion.
Providence Equity Partners holds the majority stake. The private equity firm has discussed selling the entire company or carving off Wasserman’s minority interest. Providence also has considered selling the bulk of the firm and staying on as a minority investor, one of the sources said. Another scenario could involve separating, then selling the individual business units that make up the Team.
Wasserman and Providence’s company boasts an enviable roster of music artists, including Kendrick Lamar, Coldplay and Ed Sheeran. Its sports marketing practice is viewed as particularly lucrative and has potential to grow in value as big dollars flow into sports that draw large crowds.
Wasserman, who declined to comment, has a veto right over any sale of the company that he has spent a quarter of a century building.
UTA, which also declined to comment, is among the most aggressive suitors, the sources said. The Team’s sports marketing and music representation divisions would dramatically boost the Beverly Hills agency’s profile and client roster.
Whitesell, former executive chairman of Endeavor, separately has been motivated to make investments in sports, media and entertainment since last year when he left the talent agency that he and Ari Emanuel built. Whitesell launched a new firm with seed money from private equity firm Silver Lake, and last spring he started WIN Sports Group to represent professional football players.
Whitesell wasn’t immediately available for comment.
European investment firm Permira also has expressed interest, according to a knowledgeable source. Permira declined to comment.
The New York Times first reported that Permira, UTA and Whitesell had expressed interest.
The sales process is expected to stretch into summer, the knowledgeable people said. The auction could become complicated particularly if Providence decides to unwind the business.
For example, UTA could not buy the entire company because of the Brillstein television unit. The agency is bound by an agreement with the Writers Guild of America that prevents it from owning television production.
Investment bank Moelis & Company is managing the sale. A representative of the firm declined comment.
Wasserman also is the chairman of LA28, the nonprofit group that will be staging the Summer Olympics in Los Angeles in two years.
Following revelations of Wasserman’s 2003 emails with Maxwell, several musicians and athletes — led by pop artist Chappell Roan and soccer star Abby Wambach — said that, to stay true to their values, they would leave the agency then known as Wasserman.
Wasserman apologized to his staff for “past personal mistakes” and said he would sell the agency.
He had limited dealings with Epstein, flying on the financier’s jet along with former President Clinton for a September 2002 humanitarian trip through Africa.
Wasserman, a prolific Clinton fundraiser whose legendary grandfather, Hollywood titan Lew Wasserman, helped the Democrat win the 1992 presidential election, was joined on Epstein’s jet by his then-wife, Laura, actor Kevin Spacey, Epstein, Maxwell — who was convicted of sexual abuse in 2021 — and others, including security agents.
The LA28 board’s executive committee unanimously voted to keep Wasserman as chairman, citing his “strong leadership” of the Games.
Pizza Movie (2026) Director: Nick Kocher and Brian McElhaney, Star: Gaten Matarazzo and Sean Giambrone
Somehow, I got through an hour of this movie. I was seconds away from turning off in the first fifteen minutes because of the juvenile humor. Pizza Movie is too silly, repetitive, and the characters are annoying. Stranger Things Gaten Matarazzo and Sean Giambrone star as college friends, Jack and Montgomery. College angles are rarely seen in films right now, and that’s the one saving grace of the film. Similar to high school, people are also trying to fit in. The story and visuals were too corny. You can only watch someone’s head exploding for so long without letting yours.
The Super Mario Galaxy Movie (2026) Director: Aaron Horvath and Michael Jelenic, Stars: Chris Pratt, Charlie Day, Anya Taylor-Joy
I never saw the first Super Mario Brothers Movie when it was out, but I heard it got positive reviews. My brother always loved playing Super Mario video games as a kid, and I’d watch him. I tagged along with my friends to see Super Mario Galaxy Movie, and it’s a cute and fun film. I like it when movies explore the video game world. The animation creates unique worlds and characters. The characters are split into their own storylines, and for me, I felt like it worked. It adds more action, especially for kids who are seeing the films.
Emily in Paris Season 5 (2025) Creator: Darren Star, Stars: Lily Collins and Ashley Park
After a bright spot in season 4, I thought season 5 of Emily in Paris would continue its growth in the story and its protagonist, but no, it’s all drained out in the usual Emily (Lily Collins) mishaps. Ashley Park (Mindy) has become too good for this show. Emily and Mindy waste several opportunities because of their love lives. The whole relationship angle is ruining it. I don’t understand why Alfie (Lucien Laviscount) is still in the show. I thought writers learned their lesson, but by the last episode, they’re continuing to bring the past into an apparent season 6.
Sarah’s Oil (2025) Director: Cyrus Nowrasteh, Stars: Naya Desir-Johnson and Zachary Levi
There’s always history lurking right beneath our noses. Sarah’s Oil (2025) tells the true story of Sarah Rector, an Oklahoma-born African American girl who became the first black female millionaire in the U.S. Naya Desir-Johnson is fierce and driven as Sarah. Zachary Levi is also along for the ride as Bert, a man who helps Sarah. Kate (Bridget Regan) was another favorite character as an intelligent woman. Cyrus Nowrasteh was drawn to the subject for its story and its themes. Nowrasteh’s direction is compelling as he unearths a hidden story from history. The film is streaming on Amazon Prime.
Jack Goes Boating (2014) Director and Star: Phillip Seymour Hoffman and Amy Ryan
Jack Goes Boating (2014) didn’t quite work for me, largely because of its slow pace and uneven storytelling. The film stars the late Seymour Hoffman as Jack, who also directed the film. This was Hoffman’s first and only time in the directing chair. Amy Ryan also stars in the film, giving a solid performance. This was also based on a play that Hoffman starred in. Jack wants to participate in a swim championship. That’s hardly what the film is about, tracking other characters’ stories. While the film aims for quiet intimacy, it ultimately drags, making it an underwhelming viewing experience.
You Kill Me (2016), Director: John Dahl, Stars: Ben Kingsley, Tea Leoni, Luke Wilson
Meet You Kill Me (2016), yet another film that I found in the museum of underrated gems. The concept revolves around Frank (Ben Kingsley), a hitman, who is sent to an A.A. meeting to get his mind focused again. A different story happens, where Frank falls in love with Laurel (Tea Leoni). Leoni is one of my favorite actresses. It also stars the funny Luke Wilson. I liked the trio’s dynamics. You Kill Me is a mental health movie. It’s okay to make changes if you’re not happy. I recommended that you keep an eye out for this movie.
-
Lifestyle29 seconds agoWhat are Angelenos giving away in one Buy Nothing group? All this treasured stuff
-
Politics7 minutes agoCommentary: He honked to support a ‘No Kings’ rally. A cop busted him
-
Sports19 minutes agoSun Valley Poly High’s Fabian Bravo shows flashes of Koufax dominance
-
World31 minutes agoMoldovan oligarch sentenced to 19 years in prison over $1bn fraud
-
New York3 hours agoTrump’s Immigration Crackdown Pervades Long Island Suburbs
-
Detroit, MI3 hours agoChris Simms projects Detroit Lions first-round NFL draft pick
-
San Francisco, CA3 hours agoSan Francisco sets $3.4B price tag for public takeover of PG&E
-
Dallas, TX3 hours agoGame Day Guide: Stars at Wild | Dallas Stars