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2019, Vol.58, No.

  • 1.

    A Study on Insik Quac's Early Paintings : Focusing on the Tendency of Objectification in Postwar Japanese Art

    Soonhong Park | 2019, 58() | pp.3~40 | number of Cited : 0
    This paper aims to examine how Insik Quac's(1919-1988) early paintings could have developed throughout his stay in Japan. By shedding light upon some of Quac's hitherto unknown activities, it adds a new meaning to his art-historical significance. To make a close inquiry into what value and formative characteristics Quac concerned the most, it carries out some comparisons between his and other artists' paintings in regard to how they could deform human figures, et cetera. In this respect, “objectification” that once engrossed the mind of many Japanese artists in postwar years needs a critical attention, because adopting such modus operandi into one's art making enabled the artists to face the bare reality with a reflective manner. In conclusion, it demonstrates that even the glass works - which he began to produce after painting - are not irrelevant to his first realisation of the “objectification”, revealing his primary object is not changed since then.
  • 2.

    Lee Yil and Aesthetics of Korean Monochrome Painting

    YI YUNSU | 2019, 58() | pp.41~71 | number of Cited : 0
    This paper studies the critic Lee Yil's influence on the formation and development of Korean monochrome painting, Dansaekwha. Advanced researches were focused on Park Seobo and Lee Ufan as key figures for the formation and development of the works. However, these advanced researches have a tendency that overlook the importance of the role of a critic on the history of the Korean painting. In fact, Lee Yil played a significant role on the history of Dansaekwha as he established aesthetics as finding works of the painting a common denominator and making meaningful in the middle of the 1970s when Dansaekwha emerged and flourished. The aesthetics of Dansaekwha he founded has an unique feature. That is emphasis on Korean identity of the works with two core aesthetic concepts, ‘structured surface where materiality and spirituality unite’ and ‘pan-naturalism.’ Intellectual exchange with Lee Ufan and Nakahara Yusuke had significant impact on establishing his aesthetics. However, Lee Yil's aesthetics differs from theirs. His distinctiveness originates in the aesthetics of Henri Focillon. Lee Yil inherited core concepts from Focillon, and modified them by integrating with Korean attitude towards nature called as ‘naturalism’ by Kim Wŏl-lyong. The fact that Lee Yil established aesthetics of Dansaekwha shows that he played a significant role on the formation and development of Dansaekwha. In addition, his distinctive aesthetics resulted from integrating Korean attitude toward nature into Henri Focillon’s aesthetics confirms his significance on the history of Dansaekwha. Therefore, this paper contends that Lee Yil was one of main figures leading Dansaekwha.
  • 3.

    The Subject in Korean Art Criticism after Modernism

    Kang Hea Seung | 2019, 58() | pp.73~102 | number of Cited : 1
    The study begins with doubts about the consistency unique to Korean art history, which criticizes contemporary art works from a modernistic perspective. The postmodernism discourse was sparked by the declaration of the death of the Cartesian Self. In particular, postmodernism in art is discussed in a pluralistic and mixed form, rejecting the unity of the media boundaries and areas that modernism has adhered to. But in South Korea, the discussion of postmodernism has been transformed and refracted. In particular, it is alien to discuss subjectivity and identity with a modern and a totalitarian view while criticizing in the context of postmodernism. In South Korea, postmodernism discourse only began in the 1980s, but before then, various artistic movements with experimental tendencies developed in the art world. The art scene, which deviated from formal modernism, called for a new critical language and postmodernism was accepted as an alternative. At the time, however, the Korean art circles were divided into modernist groups that connect abstract paintings and Minjung art that advocated the harmony of life and art. As a result, postmodernism was re-mixed with partial understanding and selective acceptance as necessary. The paper reviews from a critical point of view how the Western postmodernist discourse was re-contextualized in the process of being introduced to Korea. Specifically, this paper will focus on 1970s performance and 1980s folk art to discuss the fact that the artist-as-subject is emerged and ethnic identity is granted in experimental art works. Lee Gun-yong, who led the group ST, erased the epistemological subject by using his body as a tool for his works, but his works are still understood as a cognitive action. Minjung Art, which broke away from gallery art, seeks to restore its national identity. This study will look at the Korean context that has caused this mixed area, and also shed light on the historical specialties of ideological identity oriented in Korean art.
  • 4.

    The Origin and Development of Activist Art․Design : Focusing on Historical Situations and Events

    Young-chul Kim | 2019, 58() | pp.103~131 | number of Cited : 0
    This is a historical study on ‘activist art and design’. First, the art movement and design movement are researched to comprehend the characteristics and trends of activist art and design. The characteristics and trends of the art field were understood avant-garde art movement of the early 20th century, and the design field were understood in the social ideology and practice of modern design. The characteristics of activist art found in the avant-garde art movement were derived from ‘social alienation’, and the attitude to resist or overcome this appeared as the tendency of 'critical-total negation' against the existing domination form. Second, ‘counterculture movement’ and ‘environmental and anti-consumerism movement’ of the 1960s were researched to comprehend the specific objects of activist art and design. The resistance culture movement tried the structural change in social culture including the existing art viewpoints as awareness of problems about civil rights․human rights․the disadvantaged and problems about antiwar․anti-imperialism․the third world․locality. The environmental and anti-consumerism movement's objects were the structural problems about the earth's ecological environment and postcapitalism system. Third, ‘Korea's Social Change Movement & National People Art Movement of 1980s’ and ‘Korea's Post-industrial Society and Visual Culture Movement of 1990s’ were researched for understanding of the advent of the activist art and design in Korea. In Korea's Social Change Movement & National People Art Movement, there was serious discussion on how Korea's art relates the society, and how it is involved with the society. In Korea's Post-industrial Society and Visual Culture Movement, public communication, or furthermore the importance of communication methods was highlighted. In conclusion, today's society urgently demands the critical thinking and practical alternative about art and design. That's because countries in the world including Korea need proper buffer and solution for social and cultural conflicts that all of them experience.
  • 5.

    Nachträglich konstituierte Wahrheit und Kunst : in Beruf auf S. Žižeks Hegel-Deutung

    Kwon Jeong Im | 2019, 58() | pp.133~175 | number of Cited : 0
    In der vorliegenden Arbeit wird die Bestimnung der Wahrheit in Hegels Denken erneut betrachtet und wird gezeigt, was die mögliche Bedeutung und Funktion der Kunst in der modernen Zeit ist, darüber Hegel sich in der Philosophie der Kunst überlegte. Dafür wird nicht die Besimmung der Wahrheit als logischer Selbstverständlichkeit bzw. Idee, sondern die Seite von dem prozessualen Zug, der Reflextion und der Einsicht in der Hegelschen Dialektik beachtet. So liegt der Schwerpunkt darin, die Bestimmung der Wahrheit als diejenige herauszuziehen, die in der Bewegung des Bewußtseins des den Widerspruch und die Entgegensetzung reflektierenden Subjekts durch das Prinzip der Negativität kostituiert wird. Dabei wird Slavoj Žižeks Theorie der ‘nachträglichen Konstitution’ als ein neuer Gesichtspunkt für Hegel-Deutung aufgenommen und als die Grundlage für die neue Erörterung der Bedeung der Wahrheit und Kunst in Hegels Denken einbezogen. Demnach wird zuerst Žižeks Behauptung betrachtet, dass die Wahrheit nicht festgestellt, keine blosse Übereinstimmung von Subjekt und Prädikat ist, sondern Widerspruch, Entgegensetzung und Kluft enthält, und dass sie durch das Subjekt wiederholt neu konstituiert wird. Sodann wird das Wesen der ‘nachträglich konstitutierten’ Wahrheit durch das Prinzip der Hegelschen Dialektik und besonders den Charakter der dialektisch-prozessualen Wahrheit in der Phänomenologie des Geistes anaysiert. Zum letzten Punkt wird Hegels Bestimmung der Kunst auch unter dem Geschichtspunkt der ‘nachträglich konstituierten’ Wahrheit beleuchtet. Dabei werden Hegels Gedanken über die Bedeutung und Funktion der Kunst nach dem ‘Ende der Kunst’ in Bezug auf den Begriff des Scheins, des Ideals und der Konzeption der formellen Bildung neu interpretiert, und zugleich wird die Funktion und Bedeutung der Kunst in der Gegenwart, die Wahrheit nachtäglich zu konstituieren, erörtert.
  • 6.

    A Study on Owen Jones's The Grammar of Ornament : Focusing on comparison with John Ruskin's The Elements of Drawing

    Saemi Cho | 2019, 58() | pp.177~208 | number of Cited : 0
    Shortly after the 1851 Great Exhibition, The UK, the host country and leading country of the Industrialization faced criticism that it did not offer excellent qualities for culturally integrated design. Compared to the applied arts produce in France as well as primitive tribal crafts, the manufactured goods made in the U.K. was not good enough. The British government attempted to find a new formative language and to suggest the general principles in design through the process of the Design Reform. Written by an architect and theorist Owen Jones in 1856, The Grammar of Ornament was one of the major the result of this collective effort. This study argues that Jones has laid the foundation for the major traits of the modern design by deriving the generality of cultural universal traits applicable to the architecture and manufacturing industry. Suggesting general principles of design, this deviates from the perspective of interpreting Jones' theory in the confrontation between imperialism and colonial embassy, ​​or from the interpretation of being immersed in the decoration itself. By comparing Jones's theories with that of a writer and critics John Ruskin, this research also tried to understand the Grammar of Ornament in a greater detail. While Ruskin's critical view of industrial society was related to the naturalism of animation, Jones tried to find a universal aesthetic for the new industrial society. Focusing on analyzing the Moore's ornamentation, Jones applied the knowledge on the geometry and the perceptual psychology for his research. Jones refused to persue historicism, religion, and morality as Ruskin did. Instead, he embraced the diversity of complex cultures, while maintaining a rational and scientific perspective. Jones's decorative theory was not only linked to the aesthetic inquiry as a global citizen, but also argued to be reevaluated as the pioneering achievement for the modern design.
  • 7.

    A Study on Existential Aesthetics and Mass Culture Theory of Siegfried Kracauer

    Sun-Kyu Ha | 2019, 58() | pp.209~243 | number of Cited : 0
    Abstract PDF
    Siegfried Kracauer(1889-1966) is often referred to as theorist of cinematography or sociologist. He was, however, a genuine philosopher from a young age who explored new ways of thinking and critical writing. But to properly understand Kracauer as an original philosopher, one must pay attention to two motifs that have constantly moved his thinking. It is the motive for diagnosing the modern capitalist world as an era of de-realization of reality and ideological emptiness, and the motive to existentially and theologically save ‘surface’ cultural phenomena. In order to confirm and analyze this, this paper has focused on his early major essays, his unique appropriation of philosophical anthropology of Kierkegaard, and his philosophical main-work Detective Novel(1925/71). Kracauer appropriates Kierkegaard's anthropology of existential freedom in his own way. In other words, he transforms Kierkegaard's anthropology to ‘anthropology of historical existence’ in terms of historical materialism and theological redemption. In particular, he focuses on the existence of the tensioned subject between this life and eternity, the secular world and the transcendental realm. Based on this anthropological concept, Kracauer presents an unique existential aesthetics of the origin and goal of art. He emphasizes that the theoretical reflection on the art must grasp the existential tension of the subject underlying the work of art, and furthermore, it must be historically and philosophically explained and rescued the way the tension is resolved in the work of art. The impressive result of applying this historical and philosophical criticism to the genre of popular literature is the Detective Novel.
  • 8.

    A Study on Poetic Space : Focusing on Heidegger's Space Theory

    Ju-hee Lee | 2019, 58() | pp.245~282 | number of Cited : 0
    Martin Heidegger's theory of space is meaningful in that it enables a phenomenological approach to space. This approach puts significance on the way in which space reveals its personality to humans and human beings, and on grasping interaction between human and space with a personality. This provided the opportunity for human life to permeate phenomenological thoughts and to think about spaces related to moods that Heidegger thought were the fundamental way for being to experience space. This thought led to the possibility of new space preparation for follow-up research on space and to the identification of non-physical spaces such as ‘experience space’, ‘atmospheric space’, and ‘life-enhancing space’. Furthermore, this study derived the characteristics of ‘conciseness’, ‘determination’ and ‘purification’ regarding the simultaneous action of any positive and peaceful mood in the appreciation of art works and grasped their respective meanings. In addition, Chung Seo-young's work, which enables such action, is poetic words, and the space formed by her work has been expanded to ‘poetic space’. The poetic space was identified as a space that contributes to the expansion of awareness and emotion, as well as the re-development of what was sunk in the realm of concealment. It is the work of the artist that makes this thought possible. The being's active grasp of an art work and the space it forms provided the basis for access to new spatial art beauty.
  • 9.

    People and Arts from Cultural Technique's Perspective : A Study on the F. Kittler's Analysis of the Cultural Techniques

    Choi, So-Young | 2019, 58() | pp.283~314 | number of Cited : 0
    Abstract PDF
    The theme of this paper is to introduce the main contents of the culture techniques theory and to explore what the theoretical perspective is suggesting in a new direction for our understanding of culture, art and human beings. Since human's culture is always connected with technology, human beings are associated with non-human such as objects, tools, machines and animals, and their relationship is interdependent. Also, cultural skills are closely related to the media, but they are not the sames. It can be said to describe what the media does, what it produces, and what kind of action it triggers. It is the apriori and interface of the media in that it enables the genealogical study of the media. This article focuses on Friedrich Kittler's study of the ancient Greek alphabet. He presumes that the vowel alphabet was developed to record the six retaliatory poems, Iliad and Odyssey, as the poet sang. Sounds and songs are one-time sensory events. Greek writing becomes a cultural technique that sensibly records human experience.