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1980년대 한국사회와 민중미술 - 대중소비사회의 시각이미지와 비판적 리얼리즘의 재고
최태만,Choi, Tae-Man 한국미술이론학회 2009 미술이론과 현장 Vol.7 No.-
This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.
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미술비평의 효용성에 대해 다시 묻는다 : 아서 단토의 ‘미술종말론’에 대한 비평적 독서
최태만(Choi Tae Man) 현대미술학회 2006 현대미술학 논문집 Vol.10 No.-
'The End of Art' written by Arthur Danto has caused diverse discourses on the definition of art as well as the use and abuse of art criticism. He proposes that, since Andy Warhol presented his quasi ready-made objects 'Brillo Box' in 1964, contemporary art has been confronted with the end of art. It means not the crucial end of art itself but the end of a narrative insisted by Clement Greenberg, that is, the end of the modernist narrative. In fact, since Marcel Duchamp introduced the ready-made, the notion of art has been deconstructed. Insertion of non-art materials in art started to be proliferated. Moreover, Joseph Beuys manifested that 'Everyone can be artist', and Andy Warhol's Brillo Box also generated disputation about what is art. According to Danto, in Brillo Box, the long tradition of mimesis in art cannot be established, so it pronounced 'the end of art' . Because contemporary art is professional and self-defined, it has to do with philosophy. He said, after Warhol's Brillo Box, the history of art also reached the point where it had to tum into its own philosophy. Therefore, contemporary artworks need to gam assistance from philosophy, and this condition allowed plural possibilities. Dance's approval of pluralism and recognition of equality in art provides a new vision against old conventions which were produced and commonly enforced by art history and criticism in the modern era. In this article, I raise a question that his contention, on the one hand, can evoke abuse of art criticism. On the other hand, it can stimulate non-necessity of criticism. He argues that artwork is faced with every possibility without any norms. Though, his theory on the end of art is not supported by precise evidences except Brillo Box. In conclusion, I propose that the necessity of art criticism should be still efficient, even though it belongs to the art world as an institution, for the interpretation and evaluation of art. Philosophy is not the only one resource but an applicable means for art criticism. Art criticism is not merely based on the philosophical approach but also might be influenced from other institutional systems including education, journalism, gallery, museum, market, etc.
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최태만(Choi Tae Man) 한국근현대미술사학회 2011 한국근현대미술사학 Vol.22 No.-
The purpose of this paper is to reassess the contribution of Lee Kyung-sung as art critic who became active since 1953, focusing on his criticism published in the 1950s. Although some artists also wrote criticism on artwork, Lee was the only professional art critic during the decade. Despite harsh milieu, he developed his own critical viewpoint while writing reviews on exhibitions, in which he claimed that Korean artists should seek reality and modernity in their artworks for the development of Korean art. He was able to publish his criticism in limited venues such as newspapers and magazines. Thus, most of his writings tend to be brief, yet his criticism was severe and pointed. Although his criticism tends to provide evaluations rather than close analyses and profound interpretations about his contemporary art, his criticism published in the 1950s provides important basic information of art and art criticism of the period, which serves significantly in restoring Korean modern art.
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일본 전쟁기록화와 1945년 전후의 후지타 쓰구하루(藤田嗣治)
최태만(Choi Tae-man) 한국근현대미술사학회 2015 한국근현대미술사학 Vol.30 No.-
Fougita Tsuguharu moved to Paris in 1913 after he has graduated from Tokyo Academy of Fine Arts in 1910. Fougita joined cole de Paris and after the World WarⅡ then he became well recognized. His milky colored nude paintings done in the traditional Japanese painting style was shockingly unfamiliar with Parisians and they were exuberated by his eccentric actions. Fougita painted the most war campaign documentary paintings among the Japanese artists after he came back to Japan. Furthermore following the defeat, since Fougita was cooperating with the Japanese military as the president of Japanese Military Art Association, he was caught up in the middle of war responsibility controversy. After the US military occupation in Japan, GHQ classified War Campaign Documentary Paintings as propaganda, not as art paintings and shipped 153 pieces to the United States of America. Initially, GHQ had appointed Fougita to be in charge of collecting these paintings but after these war propaganda campaign documentary paintings became the main controversy in the Japanese art world, Fougita passed on the responsibility to Yamada Shinichi and left to go to the US and then France. Fougita, who was beloved by the Japanese Military for his war campaign documentary paintings during the WWⅡ, purchased diamonds from the money he made by selling paintings to US military officers and their wives. Instead of accepting his war responsibility, he avoids all blame and claims his legitimacy. In 1949, with the aid from the US military, he was left for New York. After one year in New York, he moved to Paris. Fougita became naturalized as a French citizen and ended his life in a hospital in Switzerland in 1968. From the facts above, Fougita’s war campaign documentary paintings were the result of his ambition of success, not just an outcome of Japanese military’s order. The reason he wanted to escape from Japan after the WWⅡ was to recreate his success which he already had in Paris earlier his life. In conclusion, the paintings show us what Fougita’s consciousness was like the horrendous war scenes of his paintings show that he considered war as a mere theatrical experience and bloody slaughter as a spectacle.
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