한국 추상회화 형성기의 미술비평에 대한 비판적 성찰 = A Critical Study on Korean Art Criticism during the Formative Period of Korean Abstract Painting

다국어 초록 (Multilingual Abstract)

An expressive mode of abstraction was formed when Korean artists endeavord to modernize Korean art after the Independence and the Korean War. Emulating the newly emerging style of Art Informel and Abstract Expressionism after WWII, the new abstraction in Korea was called Informel. With little reflection on the viability of the term Informel to characterize Korean artists, the discourse on Korean abstraction has been established pertaining mainly to Art Informel, advocated by French critic Michel Tapie. Informel has been assessed as a success, which enabled Korean art to be shown at international venues. While taking a revisit to critics’ writings in the 1950s, however, this paper calls into questions the lack of critical interests in American art criticism among Korean art critics. This paper looks into the way in which Korean art critics and artists understood the style of postwar abstraction, and received criticism on the new abstraction. It also examines the way in which they responded to the introduction of American art in Korea, and poses a question on possible impacts of American art criticism on the development of postwar Korean abstraction.
Korean art critics of the 1950s asserted that postwar abstraction was the modern styles to emulate. Yet, they also stressed the importance of maintaining Korean identity while adopting advanced wester art. Whereas reviews from the early 1950s paid attention to broader issues, which included western modern art history, the relation between art and society, and the avant-grade’s resistance against tradtiona, later reviews tended to focus on the Informel style. Against the backdrop of art critics’ partial interest in Art Informel, several exhibitions of American art were held in Korea with the support of USIS. Reviews on those exhibitions reveal the critics’ interests in American art, particularly in its freedom in creation. There was even a call for more knowledge about American modern art to accelerate the modernization of Korean art. Despite the positive responses to the exhibitions of American modern art, there was little indication that Korean artists and critics had sought further information on American art and criticism. This paper calls into question this discrepancy between the formal interest in artistic style and the critical interest in theories. As anticipated by the hasty adoption of the term Informel, Informel as art movement dissipated fast, thereby failing to continue its experiments for further development. This paper contends that the formation of Korean Informel should be reassessed by investigating the lack of critical interests in the cultural and philosophical sources of western postwar abstraction. Thus, Korean Informeal still demands further historical and critical investigations to disclose the unexplored course of its formation.

목차 (Table of Contents)

• Ⅰ. 들어가며
• Ⅱ. 서구 추상미술의 수용 시기 정체성에 대한 논의
• Ⅲ. 미국미술 전시에 대한 비평적 대응
• Ⅳ. 미국 미술비평의 수용에 대한 비판적 고찰
• Ⅴ. 맺으며
• 참고문헌
• ABSTRACT

참고문헌 (Reference)

1 이경성, "현대한국미술의 상황" 일지사 1976

2 김영주, "현대미술의 동향-정신형식을 중심으로" 1 : 1956

3 오광수, "한국현대미술사: 1900년대 도입과 정착에서 1990년대 오늘의 상황까지" 열화당 2000

4 최열, "한국현대미술비평사" 청년사 2012

5 오상길, "한국현대미술 다시 읽기 IV: 초기 추상미술의 비평적 재조명 Vols.1,2,3" ICAS 2004

6 오광수, "한국추상미술 40년" 재원 1997

7 김영주, "한국미술의 제문제: 정신형식의 전환을 위하여" 3 : 1956

8 김영나, "한국 화단의 ‘앵포르멜’운동, In 한국현대미술의 흐름" 일지사 1993

9 김희영, "한국 앵포르멜 담론 형성의 재조명을 통한 시대적 정당성 고찰" 한국근현대미술사학회(구 한국근대미술사학회) (19) : 69-93, 2008

10 정무정, "전후 추상미술계의 에스페란토, ‘앵포르멜’ 개념의 형성과 전개" 한국미술사교육학회 17 : 2003

11 加治屋健司, "誤作動する武器- クレメント·グリーンバーグ, 文化冷戦, グローバリゼーション" 37 : 2003

12 최태만, "1950년대 이경성의 미술비평관" 한국근현대미술사학회(구 한국근대미술사학회) (22) : 363-374, 2011