2016, Vol., No.39

Journal of History of Modern Art 2023 KCI Impact Factor : 0.77

pISSN : 1598-7728 / eISSN : 2733-9793
https://journal.kci.go.kr/kahoma

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.

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.

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.