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2020, Vol.59, No.

  • 1.

    The ‘Marriage of East and West’ of Bernard Leach's Pottery

    So-Rim Yoon | 2020, 59() | pp.3~32 | number of Cited : 0
    Abstract
    This thesis is about the value of the “marriage of East and West” that led to the contemporary studio craft of the English potter Bernard Leach (1887-1979). He established a modern sense of self-reliance by interacting with Yanagi Sōetsu and members of the magazine Shirakaba. Leach found the value of Asian ceramics within the view of Yanagi's Mingei theory, which led to the “marriage of East and West” as a key to solving the problems of modern capitalist society. Leach Pottery, which Leach founded in St. Ives in England, produced traditional European slipware and stoneware. In his article “Towards a Standard,” he presented the values of “standard” and “norm” in Eastern and Western handcrafts, which became the cornerstone of Standard Ware. However, in industrialized Western society, Leach thought of Mingei as a “total force beyond individualism” that was not able to be realized through the activities of individual artists. Therefore, he suggested the “artist-craftsman” that emerged from cultural roots based on an individual background. Leach intended that the “marriage of East and West” would create a communal production style based on Mingei's intuitive attitude and liberalism. Its scope was the art within a community that practices humanity, the “communal good,” on a historical basis, and its application was a social sharing system.
  • 2.

    A Study on Joseph P. Love's Early Art Criticism from the Perspective of Comparative Science of Arts

    Soon-Hong Park | 2020, 59() | pp.33~69 | number of Cited : 1
    Abstract
    This paper aims to reevaluate Jesuit Joseph P. Love's (1929-1992) early art criticism within the context of Japanese art history. Despite the image of being specialized in modern art, it would be much more proper to say that the characteristics of his art criticism lie in the comparative science of arts, a discipline that intends to investigate and reveal the historicity of the artworks produced in different cultural areas. For Love, an art critic who had a propensity to be against the subject and object dichotomy, the unification of the two was equal to that of the harmony achieved through mutual exchange between the art of East and West. The most important aspect of Love's understanding of art is “direct experience.” This means the viewer retraces the procedure of execution and is prompted by the work in order to share the same original experience as the artist in the making of his/her work. Thus, the artworks he highly appreciated are intact in form, preserving their quality inherent in reality. Although analysis of the artworks of East and West was his point of departure, his interest gradually moved on to abstract art, minimal art, and finally, Mono-ha. This shift is based on what he witnessed in New York during the mid-1960s; therefore, it can be said that the experience he had in the city led him to compare the various art movements of the time without regional and cultural boundaries.
  • 3.

    Internal Principle of ‘WanHo’ (玩好) and Dignity System of ‘Chwimi’ (趣味) in the Joseon Dynasty

    Jung-Hee Son | 2020, 59() | pp.73~106 | number of Cited : 1
    Abstract
    In East Asian aesthetics, concepts related to “taste” play the role of evaluating the pleasure and displeasure of objects. Among such concepts, gimi (氣味) and chwimi (臭味) were derived from the idea of gi (氣) in the Pre-Qin (先秦) period. In addition, chwimi (趣味), derived from the concept of chwi (趣) joined gimi and chwimi, so that the meaning system of identifying the taste of objects by the subject's chwimi was made. In the Joseon dynasty, the concept of chwimi (趣味) exposed its presence clearly in the aesthetic category together with gimi and chwimi. In this stream, one of the focuses is on the internal principle of wanho (玩好; liking) explained by the concepts of gimi and chwimi (臭味; 趣味). That is, the issue of wanho is linked to pleasure depending on the subject's aesthetic sense, which leads to the intentionality of the mind liking external things. In this process, the subject's chwimi forms a meaning structure that realizes a hobby as tasteful activities about wanho's objects, which are evaluated as tasty through a kind of tasting. In particular, the self-identity of the literati in the Joseon dynasty was formed by symbolizing their elegant chwimi as their social class position. In this process, the dignity of wanho's objects was identified with the dignity of the person's chwimi, so that chwimi established a system representing a kind of cultural class.
  • 4.

    Lee Gun-yong's Performing Art in the 1970s and the Reinstatement of the Body

    Hea-Seung Kang | 2020, 59() | pp.107~136 | number of Cited : 1
    Abstract
    In Korea, the body of the artist emerged in a social context in the late 1960s. It was an era when individuals were politically oppressed while the industrial base was economically strengthened. In the 1970s, Lee Gun-yong embodied the expression of the body, which he expressed in a compulsive and behavioral form and used as a tool for his work. Lee's body not only broke down the existing dichotomous boundaries between the actor and the object of action, but also produced an artistic metaphor on a social level. However, previous research on Lee has focused on his work as an act of thinking rather than a body. In this regard, this study attempts to reread Lees performance art in the 1970s, focusing on the artist's body. Specifically, this study examines physical aesthetics as a social metaphor by dividing Lee's performing art into drawing works made through physical actions and events that emphasized logic.
  • 5.

    A Study on the Potential of the Echigo-tsumari Art Field as a Locus of Artistic Discourse on Local Narratives

    Ka-Ram Jeon , Kyung-Jin Zoh | 2020, 59() | pp.137~171 | number of Cited : 0
    Abstract
    The Echigo-tsumari Art Field is a place where both residents and artists, the two main representative parties of the event, have inherited, developed, and created art discourses with their shared local narratives. It can be interpreted that their activities are clearly more of performing artistic discourses than separate creation of art work or appreciation of such. In this context, the thesis conducts an analysis of the works and their local narratives presented at the event, and then examines the production condition of the artistic discourses they construct. This study presents a few conclusions through the aforementioned analysis and also seeks to find possible directions for local art institutions to further develop their sustainability in the future by applying the epistemological concepts of “discourse” by Jacques Derrida and “public” by Hannah Arendt. They are: to understand the pluralistic nature of identity, to execute public discourses, and to express and embrace artistic expression as a form of discourse.
  • 6.

    A Study on the Meaning of the Double Image : the Correlation between the Real and the Virtual based on Lacan's Perspective

    Ihn-Sook Nam | 2020, 59() | pp.173~197 | number of Cited : 0
    Abstract
    This paper aims to understand the structure of the image and its meaning around Seminar of Jacques Lacan: Book 1. Lacan understands the image as having a decisive and direct relationship between the composition of the subject and the formation of the self. Compared to the importance of images, Lacan shows limitations in explaining how images are related to the real. This point, also understood as the limit of Lacan's theory, includes the debate on the development stage of Trieb and the Oedipus period. This study, limited to the purpose of understanding the function and meaning of images in Lacanian psychoanalysis, aims to examine the structure (the virtual and real correlative structure), and how to understand the image function of pre-Oedipus, which was difficult to explain due to the limitations of Lacan. Obscure and pointed out as the limit of research, the pre-Oedipus phase of Lacan seeks to widen its understanding of image structure and function by enhancing Melanie Klein's problem and explaining D. Winnicott's transitional environment. It is especially important in that it is one of the ways to reveal the relationship between Trieb and images. Melanie Klein, in the case of Dick, demonstrated that before the Oedipus period, Lacan had already established self-organization through the formation of relationships with things, thereby reframing Donald Winnicott's meaningful notion of a transitional environment and a transitional object to present a concrete interpretation of the self-contained libido reversal. This allows this study to more clearly reveal the images that are talked about in Lacanian psychoanalysis and to extend its understanding. This point can lead to an intensified interpretation of the psychoanalysis of the whole Lacan period, and it suggests the possibility of deepening the psychoanalytic interpretation of art.
  • 7.

    Conscious Activities in the Social Construction of Meanings of the Arts : A Comparative Analysis of Kant, Foucault, Affect Theory, Neuroesthetics, and Operative Constructionism

    Hyunjin Shin | 2020, 59() | pp.199~228 | number of Cited : 0
    Abstract
    Witnessing memes go viral and become appreciated, this thesis attempts to reconsider the criteria for the social construction of the meaning of the arts under the assumption that there are aspects where such memes perform functions of the arts. To do so, it compares theories suggested by Kant, Foucault, affect theory, neuroesthetics, and operative constructionism by examining how these theories treat conscious activities (in other words, human cognition and perception). Analysis is also conducted on the assumption that theories for the social construction of the meaning of the arts should incorporate synchrony and diachrony in order to overcome epistemology’s limit of self-reflexivity. Kant's transcendental epistemology prioritizes reason without giving proper credit to perception. Though Foucault supplemented Kant using a diachronic approach, he failed to account for the significance of individual experience: synchrony. Recently, affect theory and neuroesthetics provided scientific proof that an individual's perception and subjective cognition play a major role in the social construction of the meaning of the arts, consequently supplementing the synchronic aspect. However, they only advocate the right for individual perception to take part in art/non-art judgment, not the actual incorporation. Niklas Luhmann's Art as a Social System, on the other hand, incorporates synchrony as he observed communication on the arts to formulate the social meaning of the arts in the form of a system. This reflects his systems theory take radical operative constuctionism's position based on evolution theory. Though it may be indirect, it allows a generic individual’s conscious activity to choose the meaning of art/non-art through communication events.