Dansaekhwa is the movement of Korean minimalism that has been active since the 1970s and of which Chung Sang Hwa has been a leading proponent. Lewison visited Chung in his studio an hour outside Seoul and the article results from this visit. He examines the metaphorical implications of Chung’s use of the grid within the social context in which he was and is working.
German by birth, Wols lived in France and in the late 1940s created a series of drypoints, some of which were published in his lifetime but most of which were published posthumously. Information regarding these prints has hitherto been inaccurate and misleading. In this article Lewison corrects many of the misapprehensions concerning the facts of their creation and publication and unravels some of the confusion surrounding their status. In particular he looks at and compares the different editions drawing conclusions as to the extent to which they may or may not deviate from Wols’s intentions.In the process he reorders and renumbers the prints creating a new listing of the works.
The Hepworth exhibition was an occasion to review Hepworth’s work and the approach taken by the curators of the show to interpret it. Lewison offers new insight into her sculptural concerns in this article