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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
The 1960-70's is significant period to Korean arts history. Many artists were interested in materials during the time. However considering recent studies of the 60-70's, it doesn't mention material and materiality as it should and the study of Korean sculpture absolutely lacks as compared with painting's. Moreover many critical articles treat one-way effects from foreign arts to Korean art neglecting the interaction among the domestic arts. For these reasons, I focused on the expression of materiality appearing on Korean sculptures because sculpture has an intimacy with materials for the texture and form.
The first thing, expression of materiality in the 60's sculpture came from a certain form concerned with physical phenomena such as explosion, destruction, eruption and expansion which are given out from the emotion as ruin, devastation and tragedy. Also it is same as contemporary painting, "Korean Informel". That form emphasized the prominence and depression and it revealed the rough surface and the "carter" assembled with marks of shot.
As the 60's sculpture related with "Korean Informel", so the 70's sculpture was influenced by the 70's painting called "Korean Monochrome". "Korean Monochrome" is found using of new materials beyond colors and canvas that had not been used for art work before. Concretely the new aspect based on the physical phenomena was shown to use soil, fabric, cement and plaster powder etc. Also it drove two formal aspects the 1970's sculpture. The first is the representation of materiality by traditional way and it appeared on works of Jeseung Noh, Gwangwoo Kim, Kukgwang Jeon, Giwon Choi etc. Their works represented physical phenomena that soft stuff was crushed and bent although substance of sculpture was hard such as bronze, woods and steel.
The second aspect is use of non-artistic materials for art object and outstanding artists are Moonsup Shim, Jonghyun Ha, Yongik Kim etc. Their object is good comparison with Japanese modern art, "Monoha" because it is found the influence of Monoha in its shape. However their works have differences to Monoha in the perspective that Monoha's works show "objecthood" and express only itself. Furthermore Korean artists in the 1960-70's thought much of value of "working" therefore they didn't free themselves from representation. To this point of view, the materiality expression of Korean art had its origin in Modernism not like Postminimalism and Monoha.
Finally this study indicated that the materiality of Korean art was not influenced by foreign arts in passive way because it related with formalism and Modernism. And this specific eclecticism is related in historial background. Also this unique materiality appears not only in that time, it has appeared all over the time. In conclusion the study of materiality may have enough value for the reason why until now the materiality keeps appearing with various aspect throughout the time and genre.
The first thing, expression of materiality in the 60's sculpture came from a certain form concerned with physical phenomena such as explosion, destruction, eruption and expansion which are given out from the emotion as ruin, devastation and tragedy. Also it is same as contemporary painting, "Korean Informel". That form emphasized the prominence and depression and it revealed the rough surface and the "carter" assembled with marks of shot.
As the 60's sculpture related with "Korean Informel", so the 70's sculpture was influenced by the 70's painting called "Korean Monochrome". "Korean Monochrome" is found using of new materials beyond colors and canvas that had not been used for art work before. Concretely the new aspect based on the physical phenomena was shown to use soil, fabric, cement and plaster powder etc. Also it drove two formal aspects the 1970's sculpture. The first is the representation of materiality by traditional way and it appeared on works of Jeseung Noh, Gwangwoo Kim, Kukgwang Jeon, Giwon Choi etc. Their works represented physical phenomena that soft stuff was crushed and bent although substance of sculpture was hard such as bronze, woods and steel.
The second aspect is use of non-artistic materials for art object and outstanding artists are Moonsup Shim, Jonghyun Ha, Yongik Kim etc. Their object is good comparison with Japanese modern art, "Monoha" because it is found the influence of Monoha in its shape. However their works have differences to Monoha in the perspective that Monoha's works show "objecthood" and express only itself. Furthermore Korean artists in the 1960-70's thought much of value of "working" therefore they didn't free themselves from representation. To this point of view, the materiality expression of Korean art had its origin in Modernism not like Postminimalism and Monoha.
Finally this study indicated that the materiality of Korean art was not influenced by foreign arts in passive way because it related with formalism and Modernism. And this specific eclecticism is related in historial background. Also this unique materiality appears not only in that time, it has appeared all over the time. In conclusion the study of materiality may have enough value for the reason why until now the materiality keeps appearing with various aspect throughout the time and genre.
목차
Ⅰ. 머리말
Ⅱ. 앵포르멜 회화의 이미지를 지닌 조각의 물질성
Ⅲ. 물질성의 재현과 즉물적 제시
Ⅳ. 맺음말
참고문헌
Abstract
참고문헌 (41)
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