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.
이용수
초록· 키워드
오류제보하기
In the Korean art community, Nam June Paik has secured so absolute an position as the creation of ‘Nam June Paik Study’ can be possibly discussed to take its root as a great thinker in the end of the 20th century beyond the assessment as ‘the creator of video art’ or ‘a world avant-garde artist born in Korea.’ However, could it be confidently said that a desire to reveal the potentiality and excellency of Korean art does not twist through his fame behind the praise of Nam June Paik? It is not easy to pick out Korean tradition or national factors based on the artistic foundation of Nam June Paik, who majored in art history and aesthetics at Tokyo University, Japan and modern music at Freiburg Music School and Munchen University, Germany and mainly worked in Europe and in the State. Thus when we look back on the contention of scholars such as Benedict Anderson or Eric Hobsbawm explaining nationalism as ‘imagined community’ or ‘invented tradition’, it can be said not to be unreasonable understanding high compliment of Nam June Paik in the Korea art community as a result of reflection of nationalistic vision.
Then how is the assessment of Nam June Paik in Europe and the States where he mostly worked? The modifier ‘a Korea-born world video artist’ commonly used in the Korean art circles has also been utilized in the western art community, though it is a somewhat transformed form. For example, let’s look into the explanation of Nam June Paik appearing in H. W. Janson’s History of Art , having become the model of the survey of art history and the most widely used art text since it was first published in 1962: “His chief legacy today lies perhaps in the stimulation he provided his many students and collaborators. Among them was Nam June Paik (born 1932). The sophisticated video displays of the Korean-born Paik fall outside the scope of this book.”
In Janson’s text, Nam June Paik is simply mentioned as a witness displaying John Cage’s legacy and an important person of video art going beyond the range of the text. In case of making quite detailed explanation of his video art, Nam June Paik’s biographical background mostly accounts for that part. For example, Laurie Schneider Adams wrote in her book, A History of Western Art as below. “One of the leading exponents of video art is the Korean-born composer, performer, and visual artist Nam June Paik. He studied philosophy, aesthetics, and music at the University of Tokyo, and in 1956 went to Munich to study music. In Germany Paik met the avant-garde musician John Cage and worked with Joseph Beuys. In the late 1960s Paik began to create video sculptures consisting of television monitors arranged in significant shapes.”
What is the reason for that mentioning a nationality or biographical background for non-European artists does not drop out in art history texts? On one hand, it can be considered inevitable due to limit on information and knowledge of non-western culture in this kind of writing. In fact, the author of History of Art wrote in his preface “Why, indeed, should one not include artists who embody very different sensibilities from that of the European and American mainstream? There is, in principle, no reason to exclude them. However, I have decided to limit this edition to Western art for reason both practical and philosophical.” However, on the other hand, it is not unrelated to an attempt to grant an oriental identity to non-western artists. Namely, it is said to be the device of discrimination and elimination trying to typifying and stereotyping non-western artists and having them stay around the marginal of the U. S. art circles. The only inclusion of non-western artists in the category of western art history is that the fantasy of such typifying and stereotyping becomes impossible as Homi Bhabha indicated in his book The Location of Culture. In this sense, Nam June Paik incorporated to western art history is the only Korean artists getting out of a power to confine the other in the symbolic.
This paper explored the relation of art history and nationalism developed in the dynamics of identity and universality through the image of transformed Nam June Paik on both sides of Korean art community and the western art community. I hope this symposium is expected to be a chapter to confirm the looks of various nationalisms reflected in art history and seek the alternatives through articles presented, which can be sub-divisible as discussions of nationalism in historical perspective and nationalism in multi-cultural era.
Then how is the assessment of Nam June Paik in Europe and the States where he mostly worked? The modifier ‘a Korea-born world video artist’ commonly used in the Korean art circles has also been utilized in the western art community, though it is a somewhat transformed form. For example, let’s look into the explanation of Nam June Paik appearing in H. W. Janson’s History of Art , having become the model of the survey of art history and the most widely used art text since it was first published in 1962: “His chief legacy today lies perhaps in the stimulation he provided his many students and collaborators. Among them was Nam June Paik (born 1932). The sophisticated video displays of the Korean-born Paik fall outside the scope of this book.”
In Janson’s text, Nam June Paik is simply mentioned as a witness displaying John Cage’s legacy and an important person of video art going beyond the range of the text. In case of making quite detailed explanation of his video art, Nam June Paik’s biographical background mostly accounts for that part. For example, Laurie Schneider Adams wrote in her book, A History of Western Art as below. “One of the leading exponents of video art is the Korean-born composer, performer, and visual artist Nam June Paik. He studied philosophy, aesthetics, and music at the University of Tokyo, and in 1956 went to Munich to study music. In Germany Paik met the avant-garde musician John Cage and worked with Joseph Beuys. In the late 1960s Paik began to create video sculptures consisting of television monitors arranged in significant shapes.”
What is the reason for that mentioning a nationality or biographical background for non-European artists does not drop out in art history texts? On one hand, it can be considered inevitable due to limit on information and knowledge of non-western culture in this kind of writing. In fact, the author of History of Art wrote in his preface “Why, indeed, should one not include artists who embody very different sensibilities from that of the European and American mainstream? There is, in principle, no reason to exclude them. However, I have decided to limit this edition to Western art for reason both practical and philosophical.” However, on the other hand, it is not unrelated to an attempt to grant an oriental identity to non-western artists. Namely, it is said to be the device of discrimination and elimination trying to typifying and stereotyping non-western artists and having them stay around the marginal of the U. S. art circles. The only inclusion of non-western artists in the category of western art history is that the fantasy of such typifying and stereotyping becomes impossible as Homi Bhabha indicated in his book The Location of Culture. In this sense, Nam June Paik incorporated to western art history is the only Korean artists getting out of a power to confine the other in the symbolic.
This paper explored the relation of art history and nationalism developed in the dynamics of identity and universality through the image of transformed Nam June Paik on both sides of Korean art community and the western art community. I hope this symposium is expected to be a chapter to confirm the looks of various nationalisms reflected in art history and seek the alternatives through articles presented, which can be sub-divisible as discussions of nationalism in historical perspective and nationalism in multi-cultural era.
목차
Ⅰ. 들어가는 말
Ⅱ. 내셔널리즘 이론
Ⅲ. 아시아와 서구미술
Ⅳ. 미술사 서술과 내셔널리즘
Ⅴ. 나가는 말
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
‘열린 체계’: 백남준의 예술과 기술의 협업
우리춤과 과학기술
2018 .01
-
백남준의 비디오아트에 나타난 Mixed-Media 연구
한국디자인문화학회지
2014 .06
-
백남준의 독일시기(1959-1963) 퍼포먼스와 전쟁의 기억
한국근현대미술사학
2017 .07
-
백남준 미디어 아트에 나타난 팝 아트의 특성 연구 : ‘매체 확장’과 ‘관객 참여’를 중심으로
만화애니메이션 연구
2016 .03
-
재매개의 관점에서 본 백남준의 TV 작업
현대미술사연구
2014 .12
-
‘문화 번역’의 맥락에서 본 한국 미디어 설치 : 제1세대 비디오 작가 박현기를 중심으로
현대미술사연구
2014 .12
-
백남준의 음악적 형상화에 관한 연구
이화음악논집
2013 .01
-
미술가와 역사-미술사 교육의 한계와 전망
미술이론과 현장
2004 .01
-
포스트콜로니얼리즘!? : 지금 이곳에서 서양미술사 하기와 관련하여
서양미술사학회논문집
1999 .06
-
현대미술사 교재의 다양화를 위한 대안적 모색
미술사학
2005 .08
-
우리의 서양미술사 개론서 어떻게 가능한가
미술사학
2005 .08
-
백남준의 전자 TV : 통제된 시간에 대한 저항
현대미술학 논문집
2019 .06
-
1950년대의 한국미술(1), 제1공화국 미술의 태동과 진통
미술사논단
2015 .06
-
스베트라나 앨퍼스에 대한 비평적 조망
현대미술사연구
2011 .12
-
한국의 지방 미술대학에서 실기교육에 대한 미술사 교육의 입지와 역할
미술사학
2004 .08
-
음악, 소음, 그리고 침묵 : 현대미술에서의 소리
현대미술사연구
2007 .12
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-609-018806853