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Comparative study on the Site-specific Art of Richard Serra and Ufan Lee: Focusing on the Relations with ‘Nothingness’ from the Perspectives of Heidegger and Laozi

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2024, 73(), pp.64-89
  • DOI : 10.17527/JASA.73.0.03
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : August 14, 2024
  • Accepted : September 10, 2024
  • Published : October 31, 2024

JungHee Kim 1

1성균관대학교

Accredited

ABSTRACT

This paper is a comparative study on the site-specific art of Richard Serra and Ufan Lee from the perspectives of Martin Heidegger and Laozi’s concept of Nothingness. Lee’s and Serra’s large-scale sculptures have the tendency to focus on “site-specificity” and minimal formative features in common. However, both Lee and Serra pursued different notions in minimal art, because they took an interest in phenomenology in the early stages of their artistic activities, and studied and used it as a foundation for building their artistic thoughts. Also, Lee and Serra pondered the concepts of Being, Nothingness and monism from Taoist and Zen philosophy, and then built their own view of art with phenomenology and Eastern philosophy. For the realization of their works, the most important common point is an “emphasis on the aspect of nothingness.” In this sense, the key word for this research is “nothingness.” In the site-specific art of Lee and Serra, nothingness can be regarded as “relative nothingness.” In order to understand their nothingness, this paper compares and examines their works based on the concepts of relative nothingness of Heidegger and Laozi.

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