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2021, Vol., No.50

  • 1.

    The Art-Historical Significance of Avant-garde Artist Ri Sang-Choon(1910-1937)

    Kim, Kisoo | 2021, (50) | pp.7~44 | number of Cited : 0
    Abstract PDF
    This paper attempts to examine the avant-garde artworks of artist Ri Sang Choon (1910-1937) during the Japanese colonial period, and thereby to establish his position in the history of Korean modern and contemporary art. This paper demonstrates that Ri turned out to be an excellent avant-garde artist who led such art organizations as Zero Association (1927-29), Street Theater (1930), Megaphone (1932), and New Construction (1932-34), working as a painter, illustrator, stage setter, magazine publisher, book designer, theorist, and educator in the context of Western and Japanese avant-garde art. Ri was ideologically inclined to nihilism, anarchism, socialism, and communism, and artistically used various media such as painting, collage, printmaking, illustration, stage sets, essays, drama, etc., all of which show that he was a truly avantgarde thinker and artist who tried to realize his social ideals by freely crossing such diverse avant-garde styles as Dadaism, Futurism, Surrealism, and Constructivism. Thus, this paper expects to expand the horizon of Korean modern art by revealing that contrary to the interpretations of art historians hitherto Ri was not just a KAPF-type (socialist) realism artist but de facto an avant-garde artist, and to provide a foundation for reconstructing the historical genealogy of Korean contemporary art.
  • 2.

    Jin Sup Yoon’s Playful Performance Art

    Cho Soojin | 2021, (50) | pp.45~78 | number of Cited : 0
    Abstract
    Jin Sup Yoon, one of Korea’s leading performance artists, worked as a critic, curator, and educator while pursuing avant-garde art throughout his life. Most notable within his long career is Yoon’s role as a living witness of the history of Korean performance art, and his seventy or so performance pieces that have been released to date. Many artists have practiced performance art since the genre’s introduction in Korea, but few have produced performance works consistently throughout their lifetime. In addition, it is rare to see artists with such diverse careers—Yoon worked simultaneously as a performance artist, a performance-related exhibition curator at home and abroad, a performance critic and a historical researcher. Therefore, examining Jin Sup Yoon’s works and the practices involved is a matter of examining the development process of the more than forty years of Korean performance art history. Although each era of Yoon’s performance shows its distinct nature, the ultimate motivation behind his works remains the same throughout. It is a continuous quest, explored through the medium of performance, to break free from the ideological dichotomy that modern and contemporary Korean art has been so obsessed with: ‘participation’ and ‘purity.’ For this goal he has traversed the inside and outside of the Korean art scene in order to bring a change of perception. Yoon’s performances, constructed freely and without any set path or strategy, are the result of the artist’s nomadic worldview. Less grandiose and more delightful, like a child’s play, they sought to create a fissure within the mainstream art scene instead of confronting it head to head. Yoon continues to create his unique kind of performance pieces to this day, using art as “play,” a new way of thinking that can free itself from hostile ideological divisions.
  • 3.

    Min-su Ha’s Installation Art: Focusing on the Small Groups ‘META-VOX’ and ‘30 carat’

    Jin Sol Shim | 2021, (50) | pp.79~111 | number of Cited : 0
    Abstract
    Min-su Ha (b. 1961) is a Korean artist based in Seoul. This article explores her development of a unique visual language through examining her artworks from the 1980s to the 1990s focusing on the small groups META-VOX and 30 carat. METAVOX is a ‘tal-modern’ small group, which aimed to overcome Korean modern aesthetics that prevailed in the 1970s. During the META-VOX period, Ha sought to express her own experience and feelings through the medium of objects and installation. In the 1990s, Ha took the initiative in forming 30 carat, which consisted of ten women artists in their early thirties. Through seven exhibitions from 1993 to 2000, Ha rigorously delved into subjects such as femininity and masculinity, Koreanness, and social and environmental issues. While 30 carat was one of the most significant small group movements in the 1990s, which took a different path from the feminist art movement affiliated with Minjung art in the 1980s, it has not yet received proper critical attention. This article points out that the blank space in Korean feminist art history caused by the absence of feminist discourse bringing women’s personal experience into the political realm, and relocates 30 carat in the context of Korean feminist art history.
  • 4.

    A Study on the Polyphonic Principles of Mozart Adopted in Paul Klee’s Paintings

    Chang, Won | 2021, (50) | pp.113~137 | number of Cited : 0
    Abstract
    This paper attempts to investigate specific methods of adopting the polyphonic principles of Mozart’s music in making two-dimensional paintings in the works of Paul Klee, a painter during the early twentieth century. Klee absorbed diverse art principles in the flow of abstraction but did not merely imitate or follow them. Instead, he adopted and visualized the highest level of polyphonic structure of music of the eighteenth century to his paintings. Particularly, Klee composed paintings in the manner of musical composers through the polyphonic principles of Mozart, for whom he had a profound affection through his life. Klee’s polyphonic property set forth in deploying the simultaneity of the counterpoint in the fugue form on the flat surface of canvas based on line, color, and tone, which he regarded significant in the composition of painting. Taking inspiration from Mozart’s method of composing multi-thematic music with un-imitative plural themes, like his 41st Symphony “Jupiter” (K.551), Klee composed non-figurative forms or embodied the figures of specific objects with fundamental geometric forms such as circles, squares and triangles as well as simple curving lines. I refer to Mozart’s “Prague” Symphony to explain how Klee acquired various forms with the same motive used in diverse pieces by appropriating and transforming a single motive. Consequently, I argue that Klee achieved a sense of rhythm by forming and visualizing the temporality of music on the two-dimensional space of painting. Klee realized a model of convergent art through seeking and exploring painting with his affection for the world and objects in it.
  • 5.

    Gender Masquerade: A Study on the ‘Mask Portrait’ by Modern Women Photographers

    Ahn Young Joo | 2021, (50) | pp.139~163 | number of Cited : 0
    Abstract PDF
    This study examines the masquerade strategy represented in portrait photographs of women photographers in the early twentieth century and examines the subversive functions that masquerade brings to gender identity. First, a mask or masquerade reveals a coherent and single identity as an illusion by functioning as concealment and resistance in relation to identity. Joan Rivière introduced masquerade into the study of womanliness, pointing out that original gender identity is a fiction by asserting that there is no difference between true womanliness and womanliness as a mask. Judith Butler also discussed the concept of parody or performative gender, arguing that gender identity is produced through ‘a stylized repetition of acts,’ and that it is open to re-meaning because it always occurs through repetition and re-citation. Women photographers deconstruct the boundaries of gender identity assumed to be original through masquerade, and constitute temporary gender that does not assume essential attributes. They reveal through photographs that gender is an act, a performance and a manipulated sign, and their masquerade strategy is largely expressed in the use of genderized objects, the production of reflective images using mirrors, and stylized representations of gender. Mascarade can be said to be a gender parody strategy that breaks down the boundary between true femininity and disguised femininity and inverts and reverses the hierarchy between them.
  • 6.

    Fluxkit as the Readymade or the Fluxus Edition

    Seewon Hyun | 2021, (50) | pp.165~188 | number of Cited : 0
    Abstract
    This paper focuses on Fluxkit by George Maciunas (1931-1978) and studies the unique co-creation and distribution of Fluxus. Fluxkit was a major formal experiment to explore the distribution and experience of art. It had commonalities with individual artists in the Fluxus movement, who pursued the integration of art and everyday life and were oriented toward an international network. George Machiunas called Fluxkit “miniature Fluxus Museums,” but after that Fluxkit did not stay in Fluxus’s ‘miniatures.’ It is in the form of an inexpensive portable bag or small box, and it has since been expanded to the individual works of several artists. This paper sheds light on the characteristics of Fluxkit , which appeared in relation to the Fluxus publishing act, through the difference from Flux Year Box (1963-1975) and suggests a new perspective on the distribution of art forms. Also, the meaning of Fluxkit extended to the individual works of Fluxus members is examined through the discussion of ‘ready-made’ by art historian David Joselit. Several artists who participated in the Fluxus movement thought of Fluxkit as a conceptual ready-made, and formed a relationship between the Fluxus movement and their individual works. I suggest that it has acquired a new meaning. Through this, it was aimed to empirically examine the complexity of Fluxus’ work and the artistic practice that crosses multiple media and meets the visitors/audience.
  • 7.

    A Study for the Transition in the Internet Art

    So-Young Choi | 2021, (50) | pp.189~213 | number of Cited : 0
    Abstract
    Will the real world be replaced by the virtual world? Many theorists have already come up with critical prospects for its erosion and replacement, and now seems to be the time for such prospects to emerge. However, this article argues that the development of technology does not tend to expand the importance of the virtual world, but rather aims at various and complex connections between the real and the virtual. And it attempts to prove the validity of the argument through analysis of changes in Internetbased art. Net.Art showed characteristics such as virtuality, interactivity and technologyintensiveness by focusing on exploring the technical characteristics and possibilities of the Internet. On the other hand, Post-Internet Art has attempted to confirm the emergence of more diverse works, such as more indirectly revealing the impact of the Internet and re-emphasizing physical and tactile experiences. These characteristics can be defined as on-offline traverse and multi-platform dispersion.
  • 8.

    Museum Store as a Research Topic

    SooJin Lee | 2021, (50) | pp.215~237 | number of Cited : 0
    Abstract
    In the twenty-first century, the role and purpose of the so-called ‘museum store,’ the retail operation within non-profit museums, has become diverse and important as these outlets not only sell souvenirs, but also collaborate with artists and designers to produce unique objects and offer for sale exclusive products, contributing to the promotion and funding of the parent museums. Despite their increasing importance, however, museum stores have received little interest from academic and scholarly discourses including museum studies. This paper aims to argue the necessity of diverse explorations of museum stores as a division of museums, by offering case studies and discussing issues that may follow this research topic. I analyze the scarcity and limited purview of existing studies on the topic, and then discuss case studies. While there is currently no information on the origin of the first museum store, my study traces the early histories of the Metropolitan Museum of Art and the Museum of Modern Art in New York—two museums with the most prominent stores—and show that their early retail and publicity activities have been related to the museums’ missions to educate the public and that these histories are also linked to the identity of each museum store.