Greetings, Netizens.
Wherever I have served, I have seen how art can stimulate communication and understanding, even across sharp political, cultural, or sectarian divides. When I served as Consul General in Belfast, Northern Ireland from 1995 to 1998, I lived in a beautiful home, called “Ardnavally,” that also served as a rare piece of neutral ground in a divided society. Political and social leaders from both sides of the political and sectarian divide frequently came together at Ardnavally for spirited debates, and sometimes for what in Northern Ireland is called “great craic” -- terrific conversation and enjoyment.
A photo of Ambassador Stephens’ mother and James in front of “Ardnavally”
Northern Ireland had a very active Arts Council, and I borrowed a number of paintings, some of which had strong political overtones, others reflective of Northern Ireland’s rich cultural heritage, and displayed them in the public rooms of Ardnavally. These pieces showcased the creativity of Northern Ireland’s artists and reflected the often painful history and still-present divisions of Northern Ireland. This artwork stimulated many conversations.
As U.S. Ambassador to Korea, I worked with the Department of State’s “Art in Embassies” program to obtain on loan pieces of art to showcase in Habib House, the American Ambassador’s residence in Seoul. Art in Embassies was established by the United States Department of State in 1964; it oversees the display of American art in 180 American diplomatic residences around the world, including Habib House. Each Ambassador collaborates with program curators in Washington, D.C. on a theme for their exhibition and the specific pieces to display. Then, our curators work with museums, galleries, artists, and corporate and private collections to obtain permission to borrow the artwork to be displayed during a particular ambassador’s tenure.
A brochure that showcases the ‘Korean-American Connections’ art exhibition at the Ambassadorial Residence in Seoul
Faced with the pleasant task of selecting artwork for the residence, I initially thought about choosing art that reflected my roots in the western part of the United States. In April 2008, however, I happened to be in New York City. I spent a glorious spring morning wandering through art galleries in SoHo and the other art districts of Manhattan. I was struck by the burgeoning activity of Asian-American artists, including Korean-Americans. I decided to take a different approach.
Keeping in mind the unique blending of Korean and American aesthetics and design that inspired Habib House, I decided to concentrate on Korean-American artists. I met one well-known Korean-American artist, Ik-joong Kang, who said he wouldn’t be surprised if there were 8,000 Korean-American artists working in the New York environs alone. With the help of the ART in Embassies’ curators, I learned more about some of these artists. We were able to organize an exhibition of 36 pieces by 16 artists, 15 of whom are Korean-Americans and one of whom is Chinese-American. Moreover, all of the pieces (except for Nam June Paik’s video) were created after the year 2000 and really exemplify the very energetic contemporary Korean-American art scene that I witnessed in New York.
Ambassador Stephens introduces Ik-Joong Kang’s “Happy World” to the reporters
Artist Jae Hahn is a great example of someone who was able to encapsulate the harmony between the Asian and American cultures. She was born in Korea and lived there until the age of 19 when her family moved to Los Angeles. She loaned three pieces to the exhibition and said, “It’s funny that I don’t search or insist about my identity any longer. The East and the West are complementary and the flip side of each other. We are different manifestations, but from one big root. We are one. Your pain is my pain and my joy is your joy. The more we think of goodness and happiness, the more we contribute to make the world that much better and happier.”
05 PB23, Green Half Moon, by Jae Hahn
Oil and mixed media on wood (2005)
Courtesy of the artist, Altadena, California
We also have on display Do-ho Suh’s “Karma.” This work is about the Korean notion of inyeon (인연), which could be translated as “karma,” and relates specifically to the fated connections in one’s life. As the artist explains, if you're my parent, spouse, or friend in this life, we probably had a very significant relationship in a past life. Meetings aren't random — there are all these invisible strings attached. Suh describes inyeon as an organic way to explore the boundaries of the notion of individualism, in which each individual is an accumulation of many different things. The accumulation of so many distinct individuals, in turn, creates a bigger group, a bigger country, and a bigger world.
Karma, by Do-ho Suh
Paint on paper (2008)
Courtesy of the artist and Lehmann-Maupin Gallery, New York, New York
I’m happy to report that all the art is now all on display at the residence. We celebrated the opening of the exhibit with a reception on April 30. I enjoy sharing the pieces with my guests and appreciate hearing the conversations that rise up around them. As always, the power of art to start conversations remains strong!
For more information on the Art in Embassies program, please click on the following links:
Photos: http://seoul.usembassy.gov/114_043009c.html
Art in Embassies Video clip: http://seoul.usembassy.gov/multi.html