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2016, Vol., No.39

  • 1.

    Hybridizations of Film and Video in Cinematic Video Installations

    Jihoon KIM | 2016, (39) | pp.7~41 | number of Cited : 7
    Abstract
    Numerous artists and established filmmakers since the 1990s have extensively used video technologies to draw on and manipulate cinematic image and narrative, such that their works explore the sensorial and mnemonic power of cinema as an art of spectacle and how influential and global cinema was in shaping their memories and artistic ideas. This paper characterizes these works as “cinematic video installations”, analyzing the ways in which the medial components of film and video are correlated. Providing a critical remapping of how cinematic video installations have been discussed in both the discourses of post-cinema and those of contemporary art, I argue that cinematic video installations must be viewed as a complex hybridization of cinematic and video-based technologies. To demonstrate this, I identify in this paper spatialization (materializing the spectatorial experience of the film image, montage, and narrative in the theatrical or architectural forms of screen-related apparatuses) and temporalization (manipulating the time of the image by means of digital video’s capacities) as two key operations that video technologies execute in adopting and altering the components and historical traces of cinema. By performing formal analysis of the installation pieces by several artists and filmmakers such as Harun Farocki, Kutluğ Ataman, Doug Aitken, Douglas Gordon, and Candice Breitz, I demonstrate that the ambiguous cohabitation of cinematic and video-based specificities occurs not only in the domain of the image space, but also in the formation of the apparatus that frames the image and determines the viewer's relation to the image.
  • 2.

    Arthur Wesley Dow’s ‘Composition’ and Its Influence on Art Education in America

    Ho Chung Kim | 2016, (39) | pp.43~71 | number of Cited : 1
    Abstract PDF
    In this study, I researched Arthur Wesley Dow’s radical art teaching methods that were explained in Composition (1899) and his teachings at the Pratt Institute and Columbia University’s Teachers College. I also hoped to gain an insight into why Dow proposed a new method of art education, which reacted against traditional academic teaching, and to assess his influence on the American art education system and its curriculum. Through an investigation of the development of “composition” theory, I discovered that one reason why it is still influential today could be due to the principle of universality. He believed that all art, regardless of whether it is fine or applied art, consists of line, mass of notan(dark-and-light) and color, and these basic elements should have a harmonious relationship through composition principles, that is “synthesis”. Essentially, he believed that art must be appreciated and created by composition. Such an idea could be applied to all ages, nations, and materials or methods of art, making it as of universal concept. Upon completion of this research, I hope to be able to explain that Dow provided the key to those artists who sought freedom of expression. He also contributed to the changing paradigm in public art education, since his ideas not only resulted in better art creators but appreciators. Consequently, Dow and his students made a significant contribution to the subsequent development of American modernism and art educational system in the 20th Century.
  • 3.

    Krzysztof Wodiczko’s (Counter)-Memorial Projects

    Chaeki F Synn | 2016, (39) | pp.73~103 | number of Cited : 4
    Abstract
    This paper traces the artistic development of the War Memorial projects created by a polish-born artists, Krzysztof Wodiczko. The paper is consisted of 5 parts. After a general introduction in Chapter I, Chapter II analyzes Wodiczko’s early memorial slide projections to discuss the role of “war as cultural memory” and collective national identity. Chapter 3 focuses on the artist’s video projections to explore the gendered aspects of war trauma and discuss the question of how trauma narratives can disrupt normative understandings of war. Chapter 4 examines the artist’s post-9/11 projects which challenge standard interpretations of war and memorial. The chapter discusses how the artist’s later works, which is devoid of any physical remnants of a conventional memorial, show that we are ourselves war memorials in our unconscious. Through the discussion on Wodiczko’s war memorial projects, the paper sheds light on the contemporary interpretation of one of the longest public art forms, war memorials.
  • 4.

    A Constant Stream from Oppression to Freedom: Korean Feminist Art in the Age of Deconstruction and Post-Ideology

    Lee Phil | 2016, (39) | pp.105~132 | number of Cited : 2
    Abstract
    This essay draws attention to the changes Korean feminist art went through since its beginning in the mid-1980s. The major concerns with the early Korean feminists were the portrayal of the strong and devoted mother, the passive and feminine wife, and the nature of the female body defined by men under the influence of Confucianismduring the past 500 hundred years. However, since the late nineties, Korean artists have deconstructed the existing ideal image of the woman, experimented to break from the ideological female body, and moved toward for diversities of the artistic subject and expression upon their free choices in their work. They seem neither need to discuss feminism any longer nor interested in it. I elaborate the phenomenon as a narrative that has been flowing from oppression to freedom, and explain it by analyzing works of contemporary Korean artists such as Kim Hyun Jung, Nanda, Jangpa, Chang Jia and Yun Suk Nam.
  • 5.

    Korean Artists Moved to Paris in the 1950s and the Internationalization of Korean Modern Art

    Jeon Yushin | 2016, (39) | pp.133~154 | number of Cited : 2
    Abstract
    Korean artists moved to Paris in the 1950s are the representative cases to show the process that Korean modern art was internationalized by accepting Western art style directly going beyond the Japanese art. Korean Modernists were attracted to Parisian art movements and art groups such as Cubism and Bazaine group. At the same time, they began to recognize the problems of the Western art introduced through Japan to Korea and exert their efforts to avoid them. Most of them came back to Korea around the year of 1960 and took the leading roles in the dissemination and internationalization of Korean modern art. From the early 1960s, Korea began to participate in international exhibitions of Biennale de Paris to step up the efforts of internationalization of Korean modern art.
  • 6.

    Original Color and Natural Color: Debates on the Color of Joseon-Painting in North Korea during the 1960’s

    Jisuk Hog | 2016, (39) | pp.155~175 | number of Cited : 3
    Abstract
    North Korean artists have debated on the matter of colors in Joseon-painting(朝鮮畵) during the 1960's, so called Chollima period. At that time, they regarded Joseon-painting as an art form that well followed the doctrine of socialist realism. For them, the defining traits and characters of colors in Joseon-painting corresponded to the definition of realistic painting in North Korea. In the first stage of debate about Joseon-painting, North Korean artists accepted color painting(彩色畵) as a new art form in order to oppose oriental ink-painting(水墨畵). They wanted to use colors to effectively capture the landscape of their "mother" land. In the second stage of its debate, color was regarded as a means of excluding naturalism or literalism; it should serve as a means of realizing socialistic realism in art. However, many artists and art critics criticized the notion of original color as it was too conceptual; they considered the idea of original color inappropriate for realism, and therefore began to espouse natural color. "Natural color" here meant the color(or the intensity of shock) that artists could experience in reality. This paper examines how artists and critics, who participated in the heated debate about the color for Joseon-painting in North Korean art world, during the mid 1960's, strived to find more modern and powerful types of colors that could effectively convey the speed and intensity of the industrialized Chollima period.
  • 7.

    Toward 21st-Century Media: Critical Spatial Practices in Art History

    Choi, Jung Eun | 2016, (39) | pp.177~198 | number of Cited : 0
    Abstract
    This paper offers a comprehensive analysis of a variety of critical spatial practices and theoretical frameworks in art history that help us understand more fully the potential of 21st-century media. Since the passing of the 1980s and 1990s when the intertwined themes of occularcentrism and immaterialism were central to new media studies, there has been a dramatic return to materialism and digital embodiment which I see as a moment of the reevaluation of the human body and its relation to technology. With the later emergence of ubiquitous computing that is seamlessly integrated into our environment, the focus given to the human body has been further extended to the technological milieu that grounds bodily implication. Media no longer serve to record, store, and transmit past experiences but instead operate as platforms for instantaneous action-facilitating interconnection with and feedback from the environment. These operations of 21st-century media were anticipated in a range of late 20th-century artistic practices in which the body underwent a certain level of exteriorization through technological mediation. This paper explores the artistic practices that experimented with the shifting relationships between the human body, technology, and space, playing with diverse possibilities of the interrelations and making their dimensions sensible. In so doing, it attends to major contemporary philosophical and aesthetic challenges by reframing the body as the locus of subjectivity that is always implicated in, thus interdependent upon, broader technological environments.
  • 8.

    Photography as Key Reference and Artwork

    Ding Ning | 2016, (39) | pp.199~213 | number of Cited : 0
    Abstract
    The present paper deals with the role of photography as the key reference for contemporary oil painting in China from the 1950s through the early 21st century. Two most influential and representative oil paintings of historical subjects are discussed in detail: Dong Xiwen’ The Founding Ceremony of the People’ Republic and Chen Jian’ Nanjing at 9, 9 September 1945 AD. After the late 1970s, photography has been displayed and collected as artworks in Chinese museums and galleries. This paper explores the ways in which Some special photography exhibitions not only attracted big audience domestically but were also welcomed internationally.
  • 9.

    Traces of a Corporeal Archive: Choy Ka Fai + The SoftMachine Project

    Michelle Lim | 2016, (39) | pp.215~229 | number of Cited : 0
    Abstract
    Since 2012, the Berlin-based Singaporean artist Choy Ka Fai has been working on the SoftMachine project, a work that comprises a growing archive of interviews with more than 80 contemporary dance choreographers from Asia and several performance works made in collaboration with his subjects. The SoftMachine project began with a simple questioning of the oft-held European notion of a monolithic “sia”and has since developed into a critical and transcultural mapping of intersections between traditional and contemporary dance histories from Asia. In this paper, I will examine Choy’s collaborations with dancer-choreographers Surjit Nongmeikapam (India) and Rianto(Indonesia), arguing that the folding of traditional/local dance movements into new performance works has created an alternate archive of dance and performance with the body as repository, one that is simultaneously historicizing while contemporanizing. I briefly discuss the significance of Choy’s project in the aftermath of the banning of state funding for performance art in Singapore from 1994 to 2004.
  • 10.

    Thinking Through Drawing with William Kentridge

    Karen Kurczynski | 2016, (39) | pp.231~257 | number of Cited : 0
    Abstract
    Freedom of expression is a foundational concept of Western modernism. It is closely associated with the two-dimensional mediums of painting and, it has become especially clear in the past few decades, drawing. Drawing has now achieved the status of a major medium in contemporary art; yet the social and theoretical implications of this remain unclear. More importantly, the political implications of its association with free expression have not been widely recognized. Drawing’ unique ability to evoke divergent discourses of public and private, expression and control, information and intuition, the personal and the political, deserves exploration in depth. Conceptual artists first expanded the possibilities for drawing in the 1960s, making use of its marginal status to critique the polemical free expression of abstract expressionism. Contemporary practitioners such as South African artist William Kentridge, known for his handdrawn animations, have taken drawing in a new direction. Making use of the expressive possibilities pioneered in early 20th-century modernism, Kentridge conceptualizes drawing as an expanded social field to question the political contexts that have defined the medium historically and explore its possibilities for registering the complexity of recent events beyond the limited scope of the art world.