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논문 기본 정보

자료유형
학술저널
저자정보
김영미 (한국외대)
저널정보
한국외국어대학교 대만연구센터 대만연구 대만연구 제7호
발행연도
2015.12
수록면
37 - 60 (24page)

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초록· 키워드

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Taiwan’s pop-artist Dean-E May was the first to display his refined artworks in the Taiwan’s contemporary art community, while raising a question to the country’s identity and historical consciousness. This Article deals with his works from 1980 to now, which are the Bricolage and the Assemblage, and the recent photograph works on 2005 which he connected the pleasant sensitivities of the work to politics and history, and Taiwan’s popularity.
His works could be generally divided into three parts.
First of all, He erases and combines the images of China’s greatest leaders like Sun Wen, Mao Zedong, and Jiang Jieshi while dealing with the icon that represents the past Cold War’s ideology.
Second, there is an artwork that deals with the map and the flag of the country. Here, he questions a problem if it’s ‘Republic of China’ or ‘Taiwan’. Presently, issues dealing whether Taiwan will be separated or joined to China are being agonized. And the issues also provide an open interpretation from the works of the national map and flag which symbolize the nation statehood of ‘Complete China’.
Third, he makes the two periods of colony in the memory of the public to be remembered by his photograph works. [Taiwan Cider] and [Taiwan Cola] are one of the examples on the line, and Dean-E May himself calls this work ‘Hand -Drawn Neo-Clssical Digital Virtual Realism’. The work of modifying the object which is done before taking the photo and photosensitivity work that is done on the picture that has already been taken are included on this work.
In conclusion, in the line of Pop-art, Dean-E May is included in the Post-pop while looking from the perspective of the Taiwan art scene, he carries a avant-gardelike side as a dadaism character.

목차

Ⅰ. 포스트 냉전. 사물. 지도자
Ⅱ. 국가정체성. 평면. 지도와 국기
Ⅲ. 기억과 역사경험. 응축. 사진
Ⅳ. 아이덴티티
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UCI(KEPA) : I410-ECN-0101-2018-030-002129089