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A Study on Insik Quac's Spring Series

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2017, 52(), pp.257~293
  • DOI : 10.17527/JASA.52.0.08
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : October 31, 2017

Soon-Hong Park 1

1상명대학교

Accredited

ABSTRACT

This paper aims to examine how Insik Quac's (1919-1988) Spring series (1968) was produced in relation to his contemporaneous art movements. The serial works in which juxtapositions of black and white as well as combinations of two different materials are prominent, such dichotomous aspects of Spring reflect a transitional period of the Japanese art world. Providing an alternative perspective on the established art history, these noteworthy features of Spring reveal, in fact, the idea on art that Quac and an art group Genshoku shared together before the rise of Mono-ha. Issues that have to be rather discussed further with Quac's art can be summarised in two questions: First, why did he inevitably introduce certain unconventional materials for producing an artwork? Second, how did he manipulate such things? His Spring series summed up the problematic situations that many Japanese artists confronted at that time, and was reappraised by art critics in later days. Despite the current growing interest in the exchanges between Korean and Japanese artists of the 1970's seems apparent, rethinking of Quac's activities in the 1960's is a prerequisite for its full understanding.

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