Exhibition review of "Korean Comics: A Society Through Small Frames," curated by the Korea Society at the San Francisco Public Library (March 13-June 13, 2010).

1. Korean Comics: A Society Through Small Frames – exhibition review by Kim
Munson.
This review was originally posted on my blog at http://kmunson-mac.blogspot.com/2010/05/korean-comics-society-
through-small.html on May 17, 2010, and has been printed in hard copy in the International Journal of Comic Art.
Korean Comics: A Society Through Small Frames, curated by the Korea Society at
the San Francisco Public Library (March 13-June 13, 2010)
This exhibition, hung in the library’s large Jewett Gallery (lower level), displayed
83 framed works by twenty-one Korean cartoonists (based in both North and
South) to give library patrons insight into contemporary Korean culture. The
works shown were all printed pages or reproductions published since the mid-
1950’s (no original drawings). I didn’t view the lack of original artwork as any sort
of handicap, and felt that seeing the printed pages lent a sense of immediacy to
the show. The works explored a wide range of topics including social
commentary, historical dramas, fantasies of personal empowerment, action
stories, fairy tales, feminist characters and political propaganda. The example on the left is a
panel from the newspaper strip Kobau by Kim Seong Hwan.There were many media
represented such as newspaper comic strips, political cartoons, children’s magazines, comic
books and compilation novels. Throughout the exhibition, reproductions of the panels with
English translation were available (and greatly appreciated).
On entering the gallery, one immediately encounters a large cover drawing from Chumŏk
Taejang (Fist Boss, published 1958-1994) created by Kim Won Bin (b. 1935, China), depicting a
young girl energetically brandishing a huge Popeye-like fist, ponytail and school girl skirt
swinging. Possessed of supernatural mental and physical abilities, Kim Won Bin’s young
characters were iconic symbols of personal empowerment. Also on display were some panels
from the epic serial Four Daughters of Armian (1986-1995) by Shin il-Sook (b. 1962, Korea)
whose stories challenged the tradition of preferential treatment of sons and discrimination
against daughters. I found it interesting that many of her key characters are drawn as Western
style blondes, which she explains as “a way for female readers to indulge
their voyeurism.” Also borrowing from the Western style was Park Bong
Seong (b. 1949, Korea), whose action adventure works include such titles
as Two Year Old Emperor (1983) and A Man Called God (1995-2000). In
these stories average people become strong and influential though
success in business or government and have James Bond-like adventures.
In contrast to these South Korean stories of personal exploration and
power, The Great General Mighty Wing (1990’s), by Cho Pyŏng-Kwon
(story) and Lim Wal-Yong (art) is a story of personal sacrifice for the
greater good written and published with the encouragement and

2. resources of the North Korean government. In this lavishly illustrated (cover illustration on the
left), full color comic series an army of anthropomorphic Socialist bees protect “The Garden of
One Thousand Flowers.” The title character became iconic within N. Korea in the 1990’s as a
symbol of loyalty to the government and their brand of communism.
Also included in the exhibition were Park Ki Jeong, Kim Seong Huan, Kim Yong Hwan, Shin Mu
Su, Kil Chang Deok, Yoon Sweng Un, Kim Soo Jung, Kim Tai-Kwon, Hwang Mina, Kim Hyeong
Bae, Park Soo Kong, and others. I was please to see that the library had available a handout
with an extensive bibliography highlighting the Korean graphic novels, manga, comic books and
other comics reference works in their ever-growing collection. Concurrently, the library also
had a comics themed film series Beyond Superheroes (screening Ghost World, Persepolis,
Chasing Amy and Dick Tracy) and an exhibition entitled Coloring Outside the Lines: Black
Cartoonists as Social Commentator, curated by Kheven LaGrone, who recently produced SFPL’s
well received Morrie Turner retrospective. This show featured original drawings by Darrin Bell,
Stephen Bentley, Cory Thomas, Jerry Craft, Keith Knight, Morrie Turner, Nate Creekmore,
Brumsic Brandon Jr., Barbara Brandon-Croft and Makeda Rashidi.