19世紀 프랑스의 아카데미즘에 關한 硏究

한혜영 梨花女子大學校 大學院 1980 국내석사

현대 한국화의 추상표현에 관한 연구

박환숙 조선대학교 대학원 2005 국내석사

오늘날 우리들의 주변은 각종의 다양한 시각전달 매체들에 둘러싸여 함께 호흡하며 살아가고 있다. 이런 시각전달매체들 중 순수미술이라는 분야를 빈번하게 접하게 되며 그 중에서도 추상 작품을 대하게 되면 어리둥절한 표정을 지으며 거리를 두게 된다. 구상 작품은 그 형체 면에서 자기의 시각경험에 의하여 깊은 안목이 없어도 작품을 이해 할 수 있으나 이론적 지식이나 조형감각과 미의식을 필요로 하는 추상작품을 대하게 되면 아예 외면해 버리는 경우가 많다. 추상자체가 고차원적인 조형언어로서 종래의 개념과는 거리가 있어 미술을 전공한 사람들만의 전유물이거나 지식인, 예술인만이 이해할 수 있다고 생각하기 때문이다. 분명한 것은 일반인들의 몰이해 속에서도 20세기 이후 미술의 역사는 추상이 주류를 이루어 왔고 추상을 이해하지 못한 경우는 현대미술을 감상할 수가 없다는 사실이다 더욱이 추상은 현대의 일시적 유행이 아닌 지속성을 가지고 현재까지 내려온 미술운동으로서 앞으로 표현양식에도 커다란 위치를 차지할 것이다. 추상(抽象)은 사물의 표상에 포함되는 정표들 중에서 하나, 또는 몇 개를 분리, 독립시켜 사유의 대상으로 삼는 정신의 지적 작용을 가리킨다. 따라서 추상은 넓은 의미에서 모든 개념과 판단이 이루어지는 기초적인 과장이라고 할 수 있다. ‘추상’이란 어휘는 자연을 재현하지 않은 미술의 양식을 지칭하기 위해 약속된 보편적이고 공통적인 용어이다. 한편에서는 비대상, 비구상이라는 용어를 사용하기도 하며 1910년대에 비대상 회화라는 본격적인 순수추상미술을 낳게 된다. 비대상 회화는 순수회화적인 방향을 추구한 것으로 주로 비규칙적이고 유기적인 형태들은 사용한 것이다. 이러한 비대상의 순수추상미술에 있어서는 대부분 이미지들이 자율적이고, 거의 언어학적인 발명물로서 제시된다. 1945년의 해방과 더불어 한국화단에는 대대적 변모와 함께 새로운 세대의 장을 여는 일련의 추상표현 움직임들이 잇달아 일어나게 되었다. 당시에 분포된 동양화단의 세대별 구조는 제1세대의 리더와 함께 청년작가 정도의 연배들이었던 제 2세대가 열기 있는 자세로 기성세대에 도전하거나 그들의 화필을 계승하려는 움직임을 보이고 있었다. 이러한 다다적 작업이 조형분야에 적용되었을 때 먼저 나타난 것이 물질을 물질로부터 성립되게 하는 바, 형식을 먼저 파괴한 것이 되었고 나아가 물질의 질서에서의 이탈을 촉구한 것이 되었다. 자아를 재인식하게 되었던 1960년대 후반의 양상은 외형적인 측면에서 기록될 수 있는 집체적인 움직임이 눈에 띄게 줄어들고 있기는 하나 무엇보다도 작가들 개별적인 측면에서 내면의 고심과 좀더 밀도 있는 접근은 몇몇 모더니스트들에게 있어서 50년대에 못지않은 현저한 탈바꿈으로 그 껍질을 벗겨가고 있었다. 이에 본 논문은 추상양식의 새로운 조형실험을 통한 작품의 특성을 시대사적으로 연구하였다. 대표적인 한국화가로는 이응로와 박래현을, 미술단체인 백양회(白楊會)와 묵림회(墨林會)를 비롯한 추상그룹을 언급하고자 한다. 이들은 심의와 정신성에 우외를 두고 이를 철학적으로 규명하려는 형이상학적 개념과 추상적 화면을 강조하고 있음을 보여준다. 그리고 명확한 전통의 조형양식을 바탕으로 현대미술사조의 새로운 흐름에 공감하고 있는 의지를 잘 보여주고 있다. 1960년대는 서구뿐만 아니라 한국화단에도 젊은 신세대뿐만 아니라 기성작가들에게도 폭넓은 영향을 미쳐 한국화단에 추상화 열풍을 가져왔다. 이 후에 획기적인 구조적 변혁을 이룰 수 있었으며 이에 따른 화단의 재편성은 아카데미즘이란 하나의 미학이 존재하던 단조로움과 경직성, 획일성에서 탈피하여 다양한 미적 가치가 수렴될 수 있는 장을 마련함으로서 한국화단의 새로운 전기를 맞이하게 되었다. 그러므로 1960년대 추상표현 양식은 아카데미즘과 전전 모더니즘을 극복하고 실존적 삶을 담을 수 있는 새로운 미술양식의 발견과 더불어 조형적 영역의 확산을 가져오고 성과를 이루는데 큰 의의를 가진다고 할 수 있겠다.

프랭크 스텔라(Frank stella)의 繪畵 硏究

최정희 조선대학교 2004 국내석사

中國延邊朝鮮民族美術의 현황 : 연변朝鮮族의 風習과 美術의 性格을 중심으로

전정호 朝鮮大學校 大學院 1993 국내석사

China is a multi-racial, Socialistic country which consists of 56 minority races. Of them, Chosun race has a 350-year-old history and a population oh about 200 who lived in Yeonbyun, the northeast area of China Since olden times, the Chosun race has had along with excllece in literature and the arts. Accordingly, the art of those who have lived in Yeonbyun, China have a long succession of national blood relations and cuitural inheritance. Further in the process of the historical development ofg premodern and modern China, art has advocated the aesthetic method. Socialistic realism, however, imposed its aesthetic meaning on the porocess and then assumed the duty of participating in reaity as a strong formative language in the stream of change. Therefore, the socialistic realism has shaped a necessity for the victory of the new stream in confronation with the old, including realistic prospects for the future. The new stream has observed humanity in the formative process of building a new Society and has to seek the ideal and hope for the future and society, and then, has helped shaped that reality. The arts of the Chosun race in China reflect the reality based on such an aesthetic foundation and so have an excellent artistic character with creative methods seasoned with national poperty and emotion. The policy of opening the social economy in china has accepted modern and western advanced culture and is also developing it to fit its own culture. It also struggies to free itself from ideology from the past history and to settle the problems of con-tent and form in a manner based on the various formative nature of modern art. In such a process, the artistic characteristice of the Chosun race express the esthetic qualities, emotion, and rich sentiments, peculiar to our race and so it is important that be express with healty vitality. Historically, the social environment in which the Chosun race in China has lived is very similar to ours. The arts of the Chosun race which have been formed and developed in the dark ages characterized by frequent wars will be prosperous. I hope that these arts will be firmly settled as one with national characteristic which will make a great contribution to the cultural prosperity of the society of the future through the various creative forces in the world.

20世紀 초 러시아 美術의 꼴라쥬(collage) 硏究

이용연 梨花女子大學校 1980 국내석사

20c 미술에 있어서 Installation에 관한 연구

조은경 朝鮮大學校 大學院 1993 국내석사

새로운 기계류와 과학기술을 바탕으로 한 현대미술가들의 새로운 스타일, 재료, 기술에의 왕성한 모색으로 다양한 예술적 표현방법과 소재가 발굴되었음을 이미 주지하는 바이다. 그러나 제한된 범위내의 형식적인 문제 혹은 개념적인 문제에만 관심을 보이는 것과는 달리 1970년대 부터 일련의 화장된 공간처리 방식의 작품이 선보이게 되었다. 그들 각 작품들은 그 성격에 따라 대지미술, 환경미술, 공공미술, 거리미술, Site, Work, 기본구조물 등의 여러 이름으로 불리우면서 크게는 Installation의 영역에 포함되고 있는 바이다. 이 설치작업의 양상을 살피면 임의의 공간, 즉 실내 전시공간 및 자연경관이 등장하는 작품에 의하여 내적, 외적공간으로 나뉘어 상대적 개념이 부각되기도 하고 주위 환경적 요소를 적극 활용함으로써 기존의 심미적 차원의 예술 개념과는 다른 새로운 개념의 예술 공간이 형성되어, 이는 기술적인 면과 함께 정신적인 면에서도 고찰할 필요가 있다고 본다. 단순히 양식상의 변화와 새로운 매체의 창출 및 확산의 측면에만 주목할 경우 지난 시대의 모더니즘(Modernism) 미술이 보여 준 형식주의에서 벗어나지 못할 뿐 아니라 미술 내적인 틀 속에서도 피상적이고 의미없는 새로움의 갈증에 매몰될 수 밖에 없을 것이다. 그러므로 설치작업은 실제공간에 능동적으로 작용하거나 자의적으로 조형 구조를 형성하여 전시영역의 경계선을 초월하고, 또한 전시공간 자체를 하나의 작품으로 형성화시킨다. 따라서 개방된 조형공간은 더욱 확장되어 환경적 공간으로 발전하게되며 조형의식 자체도 더이상 구획되거나 정체되어지지 않는 무한한 가능성을 향하여 접근하게 된다. 그래서 우리는 현대 미술이 갖는 폐쇄성을 극복할 수 있는 예술적 방법으로서 설치작업에 주목하게 되며 우리의 주요한 관심을 설치 미술에 동원된 기술 자체라기보다는 그 기술을 통하여 환기되는 활성화된 정신적 국면에 모아져야 할 것이다. It is well known that various styles of art expression in terms of both process and material were discovered by actively searching for new styles, materials and techniques by modern artist based on new mechanical and scienticfic techniques. But, works exploring the process of handling a series of extensions in space appeared from the 1970's, different from those only interested in addressing the formal problem from a limited scope or concept problem. These works were called various names according to their nature ground art, environment art, public art, street art, site work, basic structure, and so on. As one inspects the aspects of establishment works using discretion space relative concepts appear in two spaces (inner and external). These are works in room display space and nature scenes. Art space is a new concept formed by the environment in practical use, which differs from existing aesthetical dimension art concepts. We need to consider the spirit of an aspect as well as its technique aspect. If we simpiy notice the change of modes, the creation of new mediums and the aspects of diffusion, we do not free ourselves from the formalism characteristic of past Modernism. Similarly, the inside from in art should be buried to a superficial and meaningless new desire. So, establishment works transcend the limits of display possession and display space shapes a work, by actively effecting actual space or voluntarily shaping the modeling structure. Opening the modeling space requires more extension, at last growth of environment space and modeling consciousness approach infinity possibilities without divesion and congestion. We notice that establishment works use artistic methods to overcome the closing of modern art. Major interest concentrates on the active spirit aspects that are awakekened by technique, not technique modeling itself to art.

韓國現代美術이 나타난 페미니즘의 方向摸索을 위한 硏究

김정희 朝鮮大學校 大學院 1996 국내석사

The male is the first gender that stands for standard, essence and subject and female is the gender which stands for abnormality, nonessence and object. It is no wonder that the existing conception of gender has come from this male-centered of thinking. As the consumer economy of capitalism is accelerated, the erroneously widespread opinion about females in society engaged with conventional logic of patriarchy has been intensified. Women have advocated new values against the white male who is self claiming and who is the leading part of western culture. Since 1913 women's movement that is newly termed Feminism has confronted this new aspect with emergence of resistance culture like the anti-nuclear movement, the green movement, racial problem, hippies. Feminist art which emerged against male-centered thinking agonizes the majority of suppressed women's reality in an unfairly organized society in connection with their own problems. It is the movement to show the agony in the process. Feminist art was inspired by an active women's movement. It was centered in America where there has been long history of women's movement in response to women's suffrage. It spread to England, France, Germany and all parts of Europe. Korean Feminism spread as a response to a culture which did not accept women equally in society. Therefore it was more than just a political or social movement as in the west. Korean feminism not only reflects culture, philosophy, symbolics, and psychoanalysis but also produces feminist literature, feminist plays, and feminist films. In addition the works that highlight women's problems to the whole surface from the feminism point of view have been produced in Korea contemporary art. In the early eighties Korean contemporary art depicted women problems, their reality of abuse, and their satisfaction with forming women's emotional consensus. Since the introduction of Post Modernism to Korea in the late 80's, however, women artists of a new generation has been much interested in Feminism with multiple works. This study of Feminist art is not an analysis on the Korean Feminist art. It is a study of feminist art which states what feminism is a search for the direction of feminism which recently has gotten much attention in Korean contemporary art comprehending the starting point of Korean feminist art in the middle of 1980. Therefore we investigate two trends of a theory in contemporary feminism, the essential feminism and the social-cultural feminism they developed out of sex discrimination and a misunderstanding of femininity. To understand universality of feminism and what feminism should be. One must be open to these new concepts. In other words the essential and social-cultural feminism which has critical points on the basis of Post-Structuralism, suggests the essential problems and directions of feminism which go beyond historical peculiarities and local limitations. This study of western feminist art helps general apprehension of what feminism is and inspects the status of Korea feminist art and woman artist's roles and their goals. Furthermore, it is meaningful that this study is a guide to the establishment and fixation of Korean feminist art. It is a pivotal point which feminism is derived from Korean emotion and how Korean feminist art can become an international language among people around the globe. In this respect, the study reveals itself through examples and inspects of western feminist art centered in America, how feminism can be identified as a visual language in the Korean emotions to investigate the possibilities of Korean feminist art, and search for the direction of korean feminist art.

디지털미술의 특성과 표현 영역에 관한 연구 : 컴퓨터 매체 테크놀로지를 중심으로

박상화 조선대학교 대학원 2000 국내석사

The present world we live is the informative-oriented age that the whole world became unitary channelized and the internet destroyed the border long ago. We live in the line of the fourth-dimensioned electronic and computer technology. Thanks to the development of technology of Virtual Reality of Artificial Reality that excels the age of video, the art developed from the media-computer, video and TV- can reproduce the actual world almost similarly. As the digital media like this is basically to communicate and also art is to come to understand between human beings, it may be natural to apply such technical innovation in art. It is considerably optimistic or digital arts which are the art from made from the computer equipment lead the corning art style. A lot of artists all over the world recognized the stream of time like this have tried to apply digital media in works of their own thirty or forty years ago. Those trials have brought about considerable technical advance like exhibition in Info ART of Kwang-Ju Biennale in 1995 and each artist has created special formative world. Already in all the world many artists are active in a line of connection so-called digital fine arts. 'Though the starting point is rather too late, also in the home artistic community the number of artists who are constructing their own formative arts is increasing steadily and the view of the art world has a bright prospect. This paper is to establish the concept of the digital art overflowing and to make clear the understanding about it though division of the characteristic according to its type and to face actively in changing environment of art. Already there is a large number of artists who are using diverse formative language employing computer with tools of art representation. This paper explained the characteristic and formative form of digital arts with priority to the artists who had the outstanding specificity and made known to the public among them and their works.

韓國의 페미니즘 美術

양지현 朝鮮大學校 大學院 2003 국내석사

This study examines the developmental process of Korean feminist art. The ultimate goal of feminist is to analyze patriarchal characters hidden at the base of human living such as history, culture, religion, philosophy, politics, and economy, and to present their unfairness. The results will help women recover their lost identities formed by social fixed ideas and distorted view about women. Feminist in art based on the sociological view that artistic achievement comes from social and cultural situations, rather than from individual capabilities. It entertained doubts about male-oriented western art history by attributing the absence of art by women to external conditions imposed women. So, it brought out feministic issues in art along with a new recognition about sex discrimination in art. As such, western feminist denied artistic tradition led by male artists and tried to recover feminity, but in Korea, the movement uttered about the inequality that came from conflict of social structures. In our society in the eighties, a democratic social movement rapidly progressed allowing the feminist movement to enter into new phases. Under the social background, Korean feminist art aimed at uncovering suppressed reality of women a s workers and reforming the reality. It was based on popular art and it insisted that class liberation should be preceded by women liberation. Centering on colleagues of 'Siwol moim' (the October Meeting) and 'Toe' (a site), Women Art Academic Association within a national art group Minjok misul hyup oui hoi (art association) of the 1980's was established. And the <Women and Reality> exhibition, a Korean feminist art exhibition was planned based on popular art. As the <Women and Reality> gained momentum, criticism against a variety of conditions given to women occurred. Women held exhibitions of colleagues every year with a recognition that discrimination and suppression to women come from structural conflicts in society such as class and patriarchy. They traveled to women's clubs and colleges and gave exhibitions in familiar living space for women, which was designed to seek concrete methods of popular communication. And, they intended to reveal actual problems of women at lower class such as female workers, farmers and prostitutes, the false recognition of middle-class women and women who struggled with social evil practices in relation to social phenomenon, instead of revealing general recognition about sex distinction. Feminist movement developed in a context of social movement in the 1980s was developed with an influence of reformative popular movement. So, its task was identical with that of popular movement. The subjects of feminism movement were female workers, women in rural areas and poor female folks who were social victims and fertilizers of industrialization. The subjects of feminist art that developed were based on the feminist movement of the 1980s and popular art were also from poor folk. It is highly valued in that Korean feminist art of the 1980's presented the possibility of Korean feminist art arrangement. However, it imitated realism of communism that is an official style of popular art uncritically so that it could not establish feminist aesthetics or methodology that can contributes to feminine art. It placed a limit on the feminist movement: It resolved sex issues into class ones by taking only women at lower class seriously, rather than women themselves as victims of sex discrimination. Korean feminist art that spread by postmodernism from the early 1990 took root by activation of feminist critiques and papers due to appearance of feminist writers and a few of critics. The first step for establishment of Korea feminist art is believed to begin by demonstrating current phenomenon of Korean feminist art. Therefore, this study aims to seek an understanding and future desirable direction of Korean feminist art, rather than finding a destination of feminist art.

아프리카 흑인 조각의 조형성 고찰

고혜숙 이화여자대학교 대학원 1979 국내석사