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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 제55호
- 발행연도
- 2022.12
- 수록면
- 63 - 82 (20page)
- DOI
- 10.14380/AHF.2022.55.63
이용수
초록· 키워드
오류제보하기
In the resumes of some Informel artists, we can find a record that there was an invitational exhibition at Macy’s in New York City, USA in 1966. It is unknown who planned the exhibition, which artists participated, and which works were exhibited. For what purpose did the luxury department store in New York, which sells general merchandise, plan to hold an exhibition for Asian artists? In this article, I would like to investigate the nature and meaning of the exhibition by excavating archival materials related to it.
Interestingly, the exhibition at Macy’s Department Store was not led by an art group, but by the Korea Trade Promotion Agency (KOTRA), established in 1962. A total of 43 works (31 western-style paintings, 12 eastern-style paintings) were exhibited. Although the selection process is not known, it is likely that the selection was made by a unilateral decision by a few representatives of Korean Art Association, commissioned by KOTRA. This exhibition was a very exceptional event in which Korea was able to promote Korean culture and art abroad on its own initiative for the first time after liberation in 1945. As it was an exhibition curated by KOTRA, however, it was totally forgotten from Korean art history without having any influence on the development of Korean contemporary art. It is partly due to the attitude of the government and KOTRA towards culture and art. For them, who promoted the export-first policy and called artworks as a trade term of ‘high quality,’ culture and art were only the maids of export. Thus, the artworks that went to the department store were shameful reminders of Korean art that could not find its rightful place in an export-first society.
Interestingly, the exhibition at Macy’s Department Store was not led by an art group, but by the Korea Trade Promotion Agency (KOTRA), established in 1962. A total of 43 works (31 western-style paintings, 12 eastern-style paintings) were exhibited. Although the selection process is not known, it is likely that the selection was made by a unilateral decision by a few representatives of Korean Art Association, commissioned by KOTRA. This exhibition was a very exceptional event in which Korea was able to promote Korean culture and art abroad on its own initiative for the first time after liberation in 1945. As it was an exhibition curated by KOTRA, however, it was totally forgotten from Korean art history without having any influence on the development of Korean contemporary art. It is partly due to the attitude of the government and KOTRA towards culture and art. For them, who promoted the export-first policy and called artworks as a trade term of ‘high quality,’ culture and art were only the maids of export. Thus, the artworks that went to the department store were shameful reminders of Korean art that could not find its rightful place in an export-first society.
목차
I. 머리말
II. 대한무역진흥공사와 박람회
III. 메이시 극동 페스티벌 한국참가
IV. 메이시 극동 페스티벌 한국전시장
V. 맺음말
참고문헌
ABSTRACT
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