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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2010.12
- 수록면
- 235 - 259 (25page)
이용수
초록· 키워드
오류제보하기
The tradition of the avant-garde to break the conventional forms of art and to actively intervene in the operations of society is a product of the Modern West. In the West, too, there were different kinds of avant-gardes. If the early twentieth century avant-gardes pursued radical aesthetics, the Russian avant-garde group dreamed to reform life from its root and to achieve social reform.
The avant-garde movements in Korea have oscillated between these1) two poles?the purely aesthetic and the avidly political. In early 20th century Colonial Korea, the Proletarian Art emerged as an avant-garde movement, but was oppressed because of its association with social and political ideologies. As a result, in the popular mind of Korea, avant-garde came to be defined as those of aesthetic and formalistic radicalism. Even after Korea regained its independence from Japan in 1945, this perception of the avant-garde persisted.
The first Korean art to be properly recognized as avant-garde was Informel, which appeared in late 1950s. With its emphasis on radical abstract art, Informel resisted realistic art which dominated the National Art Exhibitions. The group was perceived as avant-garde because it demanded the reform of established institutions, and attempted to change the existing views of aesthetic value by challenging them. The rise of Informel can ultimately be attributed to the rebellious social aspirations of the generation which emerged in the decade following the Korean War. Following the example of Informel, later art groups such as AG, ST, and the participants of 1967’s United Exhibition of Korean Young Artists actively claimed the avant-garde label for themselves. Nevertheless, the sincerity of their avant-garde status was still questioned at the time. This doubt likely stemmed from the fact that these groups were simply experimented with various newest artistic forms, and did not necessarily seek to transform life and society through their belligerence and heresy.
Informel was primarily concerned with voicing their opposition to conservative mainstream art, but the Minjung (“people’s”) Art of the 1980s was part of a larger cultural movement which defined itself as “an anti-mainstream culture movement which attempts to topple the dominant culture.” The Minjung artists had a strong belief that art could have a decisive effect on social change, and they used their works to actively oppose the dominant culture.
Even though Informel and Minjung Art, two most representative avant-garde movements, are located on opposite ends of the avant-garde spectrum, they are alike in that they each emerged during a transitional social period. Also, both movements failed to produce work which was aesthetically unique from the Western avant-garde. But this issue of aesthetic dependence is found not only in the Korean avantgarde, but also in non-Western avant-garde in general.
The avant-garde movements in Korea have oscillated between these1) two poles?the purely aesthetic and the avidly political. In early 20th century Colonial Korea, the Proletarian Art emerged as an avant-garde movement, but was oppressed because of its association with social and political ideologies. As a result, in the popular mind of Korea, avant-garde came to be defined as those of aesthetic and formalistic radicalism. Even after Korea regained its independence from Japan in 1945, this perception of the avant-garde persisted.
The first Korean art to be properly recognized as avant-garde was Informel, which appeared in late 1950s. With its emphasis on radical abstract art, Informel resisted realistic art which dominated the National Art Exhibitions. The group was perceived as avant-garde because it demanded the reform of established institutions, and attempted to change the existing views of aesthetic value by challenging them. The rise of Informel can ultimately be attributed to the rebellious social aspirations of the generation which emerged in the decade following the Korean War. Following the example of Informel, later art groups such as AG, ST, and the participants of 1967’s United Exhibition of Korean Young Artists actively claimed the avant-garde label for themselves. Nevertheless, the sincerity of their avant-garde status was still questioned at the time. This doubt likely stemmed from the fact that these groups were simply experimented with various newest artistic forms, and did not necessarily seek to transform life and society through their belligerence and heresy.
Informel was primarily concerned with voicing their opposition to conservative mainstream art, but the Minjung (“people’s”) Art of the 1980s was part of a larger cultural movement which defined itself as “an anti-mainstream culture movement which attempts to topple the dominant culture.” The Minjung artists had a strong belief that art could have a decisive effect on social change, and they used their works to actively oppose the dominant culture.
Even though Informel and Minjung Art, two most representative avant-garde movements, are located on opposite ends of the avant-garde spectrum, they are alike in that they each emerged during a transitional social period. Also, both movements failed to produce work which was aesthetically unique from the Western avant-garde. But this issue of aesthetic dependence is found not only in the Korean avantgarde, but also in non-Western avant-garde in general.
목차
Ⅰ. 서론(Introduction)
Ⅱ. 본론
Ⅲ. 결론(Conclusion)
주요 참고문헌(References)
영어번역문
〈Abstract〉
참고문헌 (6)
참고문헌 신청
1. [학술지(정기간행물)] - / 1969 / / AG
2. [학술지(정기간행물)] - 서유리 / 2007 / 전위의식과 한국의 미술운동- 1920~30년대를 중심으로 / 한국근현대미술사학(구 한국근대미술사학) (18) : 24 ~ 38
3. [단행본] - 심광현 / 2007 / 1945년-현재, 민중미술의관점에서 본 또 하나의 현대미술사 in: 민중의 고동, 한국미술의 리얼리즘, 1945-2005
4. [단행본] - 에릭 홉스봄 / 1997 / 아방가르드의 쇠퇴와 몰락 / 조형교육
5. [단행본] - / 2001 / 전환과 역동의 시대 / 국립현대미술관
2. [학술지(정기간행물)] - 서유리 / 2007 / 전위의식과 한국의 미술운동- 1920~30년대를 중심으로 / 한국근현대미술사학(구 한국근대미술사학) (18) : 24 ~ 38
3. [단행본] - 심광현 / 2007 / 1945년-현재, 민중미술의관점에서 본 또 하나의 현대미술사 in: 민중의 고동, 한국미술의 리얼리즘, 1945-2005
4. [단행본] - 에릭 홉스봄 / 1997 / 아방가르드의 쇠퇴와 몰락 / 조형교육
5. [단행본] - / 2001 / 전환과 역동의 시대 / 국립현대미술관
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