Destabilzation and disruption are the central concerns in the art of Sigmar Polke, which challenges the internal premises in art and deals with the social concerns of his time.
This study focuses on these aspects in three perspectives that are followed below. First, in raster-paintings which is a form of critical appropriation of American Pop Art, Polke dissolves the deceptive visual images of the printed world of simulacre, which masks the reality of the postwar Germany. The second group of works consists of ‘alchemical’-paintings in which the image constantly changes, in response to temperature and humidity. In these works, Polke not only breaks down the boundaries of media by using the photo-chemical mechanism of photography as for producing painterly effects, but overthrows the concept of a completed work through the constant transformation of the image. Furthermore, by combining the ‘alchemical’-paintings with a historical place or motif, Polke expresses a new understanding of history as a dynamic process of which meaning is constantly changing in accordance with the present condition and perspective of the subject. Finally, Polke overthrows the myths of art history through ironic twist of the dominant art form of modernism that has been regarded as normative. In addition, he aims to debunk the political ideology hidden beneath the abstract art, which provides an effective means to ignore and silence the postwar history of Germany.
This paper explores the early years of Yoko Ono and John Lennon’s collaborative events and media activities between 1968 and 1969. In particular, by tracing how their much-publicized performance events such as Bed-In (1969) and Bagism (1969) were derived from Ono’s Bag Piece (1964), conceived in the early 1960s during her underground period, I suggest that the media spectacles were an extension of Ono’s avant-garde art concepts that she consciously (if not strategically) staged in order to engage the mass media audience. Her romantic relationship with Lennon, which became public in 1968, changed the direction of her artistic career. As the Beatles’ notorious Japanese partner, she became a public figure whom cameras always followed, and she knew that the ‘world’ was now her audience. But the fame also came with a price that she would be for long known as Lennon’s wife rather than an independent artist. Considering the various movements of experimental art and youth culture in the late 1960s, this paper examines how Ono negotiated, utilized, and extended not only her art but also her public image when she was straddling between her avant-garde art background and the new pop culture wonderland.
This study is based on my experience as a research team leader of Suknam Yun in 2016 ‘Korean Artist Digital Archive Project’ jointly implemented by the Ministry of Culture, Sports, and Tourism and the Korea Arts Management Service. The purpose of this study is twofold. One is to suggest follow-up researchers some important issues and technical problems to achieve successful archive results, and the other is to reveal the specific performance of my project and its art historical significance. Based on thorough verification and analysis of all works by Suknam Yun, of interviews and various materials about the artist, I corrected some important errors related to her works, and classified some confusing major series in coherence. In addition, I discussedthe significance of the new findings and the influence of the artist’s early media change on her later works.
This study is expected to provide know-how and guidelines for constructing other artists’ archives as well as important materials for subsequent research of the artist. Thus, it will prevent the controversy over counterfeit of Suknam Yun, and contribute to build a solid foundation for art criticism and academic research in the future.
This paper examines the structural change of the artistic production field in Korea from the establishment of modern art to the present in connection with the social context. I divide the structural change into three parts and focus on the main issues of each part. First, from the 1950s to 1980s, I look at the process of positioning of the abstract artas a mainstream under the national influence in the formation and development of modern art, and also I pay attention to the process of re-evaluation and positioning of Minjoong-misool. Then, in the 1990s and 2000s, it is understood that the art practice is centered on individual artists, unlike the previous period, which was grouped according to a certain art movement, and the causes were identified as expansion of the system. This study reviews the changing institutions and determines the trajectory of taking position of artists in the restricted production field by reviewing the overlap of themajor exhibition and award systems. Meanwhile, this paper examines the problem as the artists’ survival and small-scale collaborative activities as the structure of the field has become more polarized since the late 2000s. As a result, I try to reach the essential problem of the current artistic field in Korea.
This article explores the interrelationships between media facade, interactivity, and the public in contemporary Korean cities. A specific case that follows is the comparative approach to British media artist Julian Opie(1958-)’s two works of media facade located in Seoul. First, Opie’s Crowd (2009) is characterized by a visual spectacle unfolding in the city. It appears upon the facade of the Seoul Square, an office located across the Square of the Seoul Station, and activates it as a public sphere that is beyond simple representation. Whereas Opie’s another work Sara Walking in Bra, Pants, and Boots (2003), is located at the center of the Daehangno commercial district, and imbricatedwith the surroundings in more subtle ways. It is perceived at the level of pedestrians, and experienced not so much as a prominent spectacle but as part of everyday life. By paying attention to differing moments of interaction brought forth by various groups of people’s activities, events, or habitual encounters around Opie’s work, this article claims that one can explore the public (but most often private) nature of media facade by looking at its complex patterns and modes of experience that operate at multiple levels.
By looking at art collective Assemble’s case, this study examines the controversial and paradoxial aspects of socially engaged art in complex relationship between cultureled urban regeneration and gentrification. The neoliberal urban strategy, gentrification has undergone the transformation from ‘dirty word’ to ‘aesthetized word’ as ‘urban regeneration’. And socially engaged art absorbed under the structure of urban regeneration has been involved in gentrification more deceitful and paradoxial way. Assemble is highly praised for offering alternative model of regeneration in opposition to entrepreneurial gentrification. However, they raise questions concerning instrumentalization of socially engaged art as their works absorbed in entrepreneurial urban regeneration strategy structure. The More fundamental problem lies Assemble’s way of aesthetic and symbolic reconfiguration of industrial junk and their dependencyon the methodology of neoliberal gentrification strategy. Therefore Assemble’s case implies the paradox of gentrifying the anti-gentrification. This also signifies the blurring border between artistic resistance and commodification by intensified economic appropriation of cultural realm.
The relationship between painting and poetry before the twentieth century has been well examined by art historians. However, this relationship in modern Chinese art has been less addressed. This paper is a case study of Tang Yun’s Twelve-Leaf Album after Lu You’s Poems, which was made in the last year of China’s Great Proletarian Cultural Revolution (1966–1976). Through an examination of the purpose, subject matter, and style of this album, this paper suggests that this album not only represents the survival of the traditionalist interplay between painting and poetry in twentieth-century Chinese art, but also epitomizes the artist’s literati approach in reviving traditionalist Chinese painting after the devastation of the Cultural Revolution.
Recently, cultural and arts institutions like the museum are strengthening the essential functions of the institution and, on the other hand, diversifying. This study focuses on the Asia Culture Center (ACC)’s the education program in the field of training and culture and art institutions in the 21st century. The education program for professional training of the Cultural Center of Korea is in fact in line with the policy direction in which cultural and art institutions and ultural and arts education are expanding, and the first thing they noticed was ‘exhibition technician.’ The field of training experts for exhibition technology, which took place in July 2016, is a special education designed for the necessity of specialized personnel related to exhibitions at cultural and art institutes.
The actual course of education is divided into basic and intensive courses and field activities, and the contents of the project are based on theoretical understanding of the history of war as well as the contents of the plan, installation of the projector, mapping, etc.
This kind of exhibition technician program is aimed at increasing demand for contemporary art. Their roles are becoming increasingly important in the reality of many artistic sites of artistic expression and technical drive, and in Western and Japanese cases, their positions are becoming as firm as artists.
The present study aims to examine the transformation of Museum Concept as an institution and the new role of the audience at the museum after Protests of 1968 where makes a social process work. The theoretical proposal of Henri Rivière about the ecomuseum that aimed at sustainable development of society, the strategy of the museums on the communication was changed. The participation of audiences in the role of the stakeholders improved the public interest. In this way, another institutional form of museum of Art is also developed: alternative space or open museum where the institutions became a social process work. This situation makes to see the socialmember’s particular situation, for example, the Visually Impaired at the museum of Art. The Homer State Tactile Museum at Ancona creates social dialogues between normal members and Visually Impaired making the experience of participation simultaneously at the exhibition. Proceeding from what has been said above, the museum is a useful instrument of social intervention that make the development of the local community. And this study has also shown that the change of viewpoint of the museum can be one of the influential elements on the idea of Art, obviously opening a new prospect in the field of art & art criticism.