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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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Feminist ideas were introduced into Korean art in the 1980s via small-scale exhibitions by women artists who became aware of women"s social position out of their leftist democratization movement. Such exhibitions as "From a Half to One" (1986) and "Women and Reality" (1987) triggered the issues of "women"s art" and "feminist art" which began to be widely circulated in art magazines and journals in the early 1990s. Yet, the circulation dwindled and was eventually reduced to women with feminist convictions. This paper examines the reception and development of feminism in Korean art based upon the analysis of texts produced after 1980s, and envisions the future of the discourse in Korean art based upon the interviews that I carried out targeting female art professionals including curators and critics.
I begin by tracing how the term "feminist art" and its related concepts settled in the critical vocabularies at the time that postmodernism gained popularity among Korean intellectuals, and how critics and art historians approached the feminist agendas in their practices including academic writings and exhibitions. I continue by introducing the result of the interviews that I conducted of twelve female professionals active in the art and the academia: the critical diagnoses on the feminist legacies of the 1990s and the reluctant and cynical responses on feminism among the younger generation of women intellectuals as well as the sporadic yet eager attempts to maintain feminist ideas in publications. Finally, I conclude by reiterating and highlighting the need for feminist criticism in spite of these sporadic attempts to maintain its public relevance while the patriarchal mechanism remains entrenched.
I begin by tracing how the term "feminist art" and its related concepts settled in the critical vocabularies at the time that postmodernism gained popularity among Korean intellectuals, and how critics and art historians approached the feminist agendas in their practices including academic writings and exhibitions. I continue by introducing the result of the interviews that I conducted of twelve female professionals active in the art and the academia: the critical diagnoses on the feminist legacies of the 1990s and the reluctant and cynical responses on feminism among the younger generation of women intellectuals as well as the sporadic yet eager attempts to maintain feminist ideas in publications. Finally, I conclude by reiterating and highlighting the need for feminist criticism in spite of these sporadic attempts to maintain its public relevance while the patriarchal mechanism remains entrenched.
목차
Ⅰ. 들어가면서
Ⅱ. 페미니즘의 도입과 전개
Ⅲ. 2000년대의 현황 및 미래의 전망
Ⅳ. 나가면서
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UCI(KEPA) : I410-ECN-0101-2015-600-002662289