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ANALYTIC AND HOLISTIC APPROACHES TO FINE ART EDUCATION: A COMPARATIVE APPROACH
사이먼몰리 한국기초조형학회 2014 기초조형학연구 Vol.15 No.4
After four years teaching in university Fine Art departments in South Korea I have discovered that pedagogic styles and methodologies, as well as expectations, are very different from those familiar to me from studying and teaching in my own country, the United Kingdom. Recognizing these deep differences has led me to question what I see as certain covertly universalizing tendencies within Western pedagogic conventions that conceal valuable differences, and this is what I address here. Following the social psychologist Richard E. Nisbett, I define these differences under the rubrics ‘analytic’ (West) and ‘holistic’ (East). I discuss how these different cognitive styles affect ‘cultures of learning’, and conclude that South Korean pedagogy in Fine Art has something to teach us in the West
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‘History Painting’ : Contemporary Korean Art and the Korean War
사이먼몰리 한국근현대미술사학회(구 한국근대미술사학회) 2020 한국근현대미술사학 Vol.40 No.-
I first present an abbreviated overview of the exhibition Unflattening which was recently at the Museum of Modern and Contemporary Art, Seoul. My interest in this essay is primarily on the sections of the exhibition that involves Korean contemporary artists responding to the legacy of Korean War, but I extend this remit to consider some more general issues concerning contemporary art and war. I consider war as a paradigm of cognitive ‘flattening’, and ask how images and image-word hybrids can help us perceive war in general from a less ‘flattened’ vantage point. I make a short detour into historiography and art history in order to discuss representations of war and how they reflect historical consciousness. I discuss the genre of ‘History painting’, and extend its meaning to include all art that engages with recent historical events, including war. I then return to the exhibition at the MMCA to consider how the works by the contemporary Korean artists can aid understanding of the Korean War. I argue that inevitably an exhibition about the Korean War in the Republic of Korea today is hobbled by the fact that the conflict continues, albeit it at a now diffuse level. I also argue that the stylistic conventions of contemporary art in general can prove problematic when dealing with an event as traumatic as war, especially in its contemporary manifestations.
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