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On Seung-Taek Lee’s Non-Sculpture: Between Documentary Photography and Photo-Picture

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2021, 64(), pp.76-97
  • DOI : 10.17527/JASA.64.0.04
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : April 15, 2021
  • Accepted : May 8, 2021
  • Published : October 31, 2021

Ihn-Bum Lee 1

1아이비리인스티튜트

Accredited

ABSTRACT

Seung-Taek Lee has attracted attention in the Korean art world with experimental artworks, since he made his debut through a sculptural work in 1956. The experimental nature of his work has been referred to as a concept, ‘non-sculpture’ after he contributed his essay, “The origin of my non-sculpture” to a art magazine in 1980. However, the considerable errors are found in the relevant records of his works of art. Sometimes there are so many problematic errors in basic records of his works, especially documentary photography or the records of artwork such as the names, year of production, materials, techniques, size and etc. These errors not only make it difficult to identify the historical context between each works and his interaction with other artists, but also caused great confusion the understanding of his artworks. His performances and installations, which have been active since the 1980s, have been discussed through the photographic images. By the way many of them are not just records of objects or events but have been painted or collaged on photographies. Therefore taking it as an index that dictated actual works and characterizing them as an extension of the concept of ‘sculpture’ or its symmetrical concept ‘non-sculpture’. These Seung-Taek Lee’s photography works should be called his own ‘Photo-Picture’.

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