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Zoh Johann’s Critique of Modern Art and Aesthetic Conservatism

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2026, 78(), pp.26~47
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : April 13, 2026
  • Accepted : May 16, 2026
  • Published : June 30, 2026

Seung-Chol Shin 1

1강원대학교

Accredited

ABSTRACT

This paper examines the contemporary significance of conservative aesthetics through Zoh Johann’s understanding of modern art. The art of his time, which he had initially referred to vaguely as “modern art,” came from 1967 onward to be designated primarily by the translated term “hyeondaemisul [=contemporary art],” thereby acquiring conceptual rigor and a critical-cultural dimension. This study investigates that shift through a close reading of his diaries from his period of study in Germany and his engagement with Hans Sedlmayr. While Zoh, like conservative philosophers, regarded the establishment of truth as the essential mission of art, he nevertheless revealed a form of conservatism that was not reactionary by refusing to reject the adventurousness and experimentalism of modern art. In this respect, this study examines Zoh’s understanding of modern art and his aesthetic thought, which both resemble and diverge from postwar German conservative aesthetics, and retraces the formation of aesthetic conservatism as a moderate alternative to avant-garde innovation.

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