지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This text is composed with the result of data partly arranged with my doctoral theses “Experimental art and society of 1960-70s Korea” (2000) and 1960-70s data including the theses were regulated again to this text.
First I think there are 3 points ought to be considered in Korean Modem Art History ① Basis data without regulating and destroying ② Identity absence of historical sight in Korean art history ③ Alienation of an art history/an art spot/an art criticism/ education. These are rebuilt in this text as Korean art history seen again as taking part in which must be conscious from now on.
Second I think there are 3 points too ① it is necessary to have cognition of continuing from Korean ancient Art via Korean Modem Art to Contemporary one those which were generally cut off. ② to reflect or re-examine about re-analysing the difference or connection between the phenomenon of Korean Art and those of Europe and Japan. ③ to re-consider the communication process between Art and Society.
This text is a trial to fill the blank parts of established Korean Modem Art description through re-examining and re-investigating on the materials unrevealed or points uncleared. The things which argues mainly in the text is parts in Korean Art history yet and to be giving confusion. ① I tried to see some points among the course to investigate the society phenomenon with 1960-70s general art phenomenon(the society phenomenon with 《Actuel》(1964) exhibition etc). and to include them in Korean art history. ② I also tried to see the situations of 《Actuel》(1964) exhibition and after 《Zero》(1967) 2nd exhibition and 《Young Artists Coalition》 exhibition(1967), 《The 4th group》(1970). They are successive starting points of breaking with conventional plane painting to installation or object diffusing rapidly from late 1960s to the beginning of 1970s. And I think it is very important to trace Korean Art phenomenon of today to its source.
Especially my viewpoint has the meaning as meta critic as I reverify the established Korean art history as well as art critics that break 1960-70s experimental Art from 1980s young small groups treating 1980s young artists as the name of Post modem. ③ I think it is superficial to treat the simple relation between Ufan Lee and Park Sea Bo as that of Monoha with Monotone painting. We have to recognize it is necessary to be suggested more writings on Korean artists in the circumstances which a translation on Arte Povera or Monoha does not exist in Korea.
There are multiple aspects that must be subdivided in Korean Modem Art. Those are first, personal relationship between Ufan Lee and Park Seo Bo, second, the relation between Korean Experimental Art unfolding and Ufan Lee Monoha, Paris biennale exhibition (1971, 1973) with the Experimental art of Korea circumstance and 《Korean Art Grand Prix》(1970) or 《Independent》(1972) exhibition were important in that situation. third, the connection of Monotone painting of park Seo Bo and that of Ufan Lee was related 《Seoul biennale》(1974) and 《Seoul Modem Art》(1975) exhibition and 《Ecole de Seoul》(1975). fourth, the meaning of WHITE of Korea and historical investigation on not only Japan Orientalism but its Colonialism standpoint especially related in 《5 White-Korea 5 artists》(1975) exhibition of Japan.
The established general Korean art history on 1960-70s is the documentary description about group and artists on the whole or ‘art for arts sake’ analysis to the putting first. And there is a main stream which two poles of conservatism of National Art Exhibition and Korean Informel are dominated in Korean Art history, meanwhile the Experimental Art process is described lightly or not explained under the social circumstances of military political power of president Park Jung Hee.
The terminology Experimental Art’ was used in the inclusive meaning that objects, installations, happening, performance, film were taken in covered in my doctoral theses “Experimental art and society of 1960-70s Korea” (2000). I focused the art works only be considered as social connected in my viewpoint so the terminology ‘Experimental Art’ was not limited to the works that criticised Korean society but focused on the selected works which were especially considered in the connection with Korean society among the works in the process of breaking with conventional plane painting.
I tried that the text would be approached as meta-critic be faced with Art history honestly and clearly. In this text historical facts are re-examined and re-verified for occupying their places that were missed and omitted.
First I think there are 3 points ought to be considered in Korean Modem Art History ① Basis data without regulating and destroying ② Identity absence of historical sight in Korean art history ③ Alienation of an art history/an art spot/an art criticism/ education. These are rebuilt in this text as Korean art history seen again as taking part in which must be conscious from now on.
Second I think there are 3 points too ① it is necessary to have cognition of continuing from Korean ancient Art via Korean Modem Art to Contemporary one those which were generally cut off. ② to reflect or re-examine about re-analysing the difference or connection between the phenomenon of Korean Art and those of Europe and Japan. ③ to re-consider the communication process between Art and Society.
This text is a trial to fill the blank parts of established Korean Modem Art description through re-examining and re-investigating on the materials unrevealed or points uncleared. The things which argues mainly in the text is parts in Korean Art history yet and to be giving confusion. ① I tried to see some points among the course to investigate the society phenomenon with 1960-70s general art phenomenon(the society phenomenon with 《Actuel》(1964) exhibition etc). and to include them in Korean art history. ② I also tried to see the situations of 《Actuel》(1964) exhibition and after 《Zero》(1967) 2nd exhibition and 《Young Artists Coalition》 exhibition(1967), 《The 4th group》(1970). They are successive starting points of breaking with conventional plane painting to installation or object diffusing rapidly from late 1960s to the beginning of 1970s. And I think it is very important to trace Korean Art phenomenon of today to its source.
Especially my viewpoint has the meaning as meta critic as I reverify the established Korean art history as well as art critics that break 1960-70s experimental Art from 1980s young small groups treating 1980s young artists as the name of Post modem. ③ I think it is superficial to treat the simple relation between Ufan Lee and Park Sea Bo as that of Monoha with Monotone painting. We have to recognize it is necessary to be suggested more writings on Korean artists in the circumstances which a translation on Arte Povera or Monoha does not exist in Korea.
There are multiple aspects that must be subdivided in Korean Modem Art. Those are first, personal relationship between Ufan Lee and Park Seo Bo, second, the relation between Korean Experimental Art unfolding and Ufan Lee Monoha, Paris biennale exhibition (1971, 1973) with the Experimental art of Korea circumstance and 《Korean Art Grand Prix》(1970) or 《Independent》(1972) exhibition were important in that situation. third, the connection of Monotone painting of park Seo Bo and that of Ufan Lee was related 《Seoul biennale》(1974) and 《Seoul Modem Art》(1975) exhibition and 《Ecole de Seoul》(1975). fourth, the meaning of WHITE of Korea and historical investigation on not only Japan Orientalism but its Colonialism standpoint especially related in 《5 White-Korea 5 artists》(1975) exhibition of Japan.
The established general Korean art history on 1960-70s is the documentary description about group and artists on the whole or ‘art for arts sake’ analysis to the putting first. And there is a main stream which two poles of conservatism of National Art Exhibition and Korean Informel are dominated in Korean Art history, meanwhile the Experimental Art process is described lightly or not explained under the social circumstances of military political power of president Park Jung Hee.
The terminology Experimental Art’ was used in the inclusive meaning that objects, installations, happening, performance, film were taken in covered in my doctoral theses “Experimental art and society of 1960-70s Korea” (2000). I focused the art works only be considered as social connected in my viewpoint so the terminology ‘Experimental Art’ was not limited to the works that criticised Korean society but focused on the selected works which were especially considered in the connection with Korean society among the works in the process of breaking with conventional plane painting.
I tried that the text would be approached as meta-critic be faced with Art history honestly and clearly. In this text historical facts are re-examined and re-verified for occupying their places that were missed and omitted.
목차
Ⅰ. 머리말
Ⅱ. 1960年代 한국현대미술 상황 검증하기
Ⅲ. 1970年代 한국현대미술 상황 검증하기
Ⅳ. 한국현대미술 略史에 있어 메타 크리틱(meta-critic)의 의미
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
전통과 현대의 다리를 놓다 : 석남 이경성의 미술사 인식
한국근현대미술사학
2011 .12
-
미국의 한국 근현대미술 연구사
한국근현대미술사학
2012 .12
-
1950년대의 한국미술(1), 제1공화국 미술의 태동과 진통
미술사논단
2015 .06
-
한국현대미술사와 한국의 미술사학 교육
미술사학
2005 .08
-
1960년대 이후 한국 현대미술에 관한 사회학적 논의 : 브르디외(Pierre Bourdieu)의 ‘자본’ 개념을 활용한 사회구조적 분석
미술사연구
2009 .12
-
한국 근현대 서양화 및 시각문화 연구사
한국근현대미술사학
2012 .12
-
미술가와 역사-미술사 교육의 한계와 전망
미술이론과 현장
2004 .01
-
미술의 공공성을 둘러싼 경합의 위상학 : 일본에서의 미술가·비평가 탄생에 대한 재해석
한국근현대미술사학
2009 .12
-
현대미술사 교재의 다양화를 위한 대안적 모색
미술사학
2005 .08
-
‘움직이는 조각’과 공연예술
서양미술사학회논문집
1990 .12
-
무용과 과학기술을 융합한 그룹 E.A.T.에 관한 연구
무용예술학연구
2019 .01
-
한국 추상회화 형성기의 미술비평에 대한 비판적 성찰
미술사논단
2013 .12
-
현대미술 감상 및 표현수업 지도방안 연구 - 실험적 관점에 의한 7가지 방법론을 중심으로 -
조형교육
2009 .01
-
스베트라나 앨퍼스에 대한 비평적 조망
현대미술사연구
2011 .12
-
미술과 공예 : 그 경계와 위상
미술사학
2007 .08
-
20세기 한국미술사 연구를 위한 소고: 1960-70년대 미술을 중심으로
미술이론과 현장
2013 .01
-
모두를 위한 엘리트주의 : 공동체적 가치의 담론 장場으로서 미술비평
현대미술학 논문집
2009 .12
이 논문의 저자 정보
이 논문과 함께 이용한 논문
실험미술과 사회 : 한국의 새마을 운동과 유신의 시대(1961-1979)
김미경
한국근현대미술사학
2000
.12
한국 앵포르멜 담론 형성의 재조명을 통한 시대적 정당성 고찰
김희영
한국근현대미술사학
2008
.12
해방이후 한국현대미술의 전개 - 전통과 서구미술 수용의 갈등 및 방향모색 -
김영나
미술사연구
1995
.12
여성 미술가와 사회 : 1960-70년대 한국을 중심으로
김미경
현대미술사연구
2000
.12
[Special Feature]60~70년대 한국 현대미술 다시 읽기2 - 한국 현대 미술의 비평적 쟁점들
김미경
더원미술세계
2001
.10
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-650-017320591