찰스 쉴러

신채기(申彩基) 한국미술연구소 2011 美術史論壇 Vol.- No.32

Charles Sheeler(1883-1965) is widely recognized as one of the leading Precisionist artist who represented a new style of American Modernism during the 1920s. He is known for his immaculately painted machine-age imagery focussing on industrial objects and Ford factory buildings. However, a closer study on the artist’s artistic career reveals that Sheeler was not only interested in painting corporate, industrial America, but also the rural, countryside America. His life-long interest in depicting barns in Pennsylvania, farmhouse interiors, and handcrafted furnitures from his own residence sets an interesting anti-thesis to the artist’s reputation as an iconographer of Industrial America. This paper investigates the background of such rural images and everyday objects, and discusses the details in relation to the artist’s life and work. It also aims to situate such images in the larger social historical context, particularly the 1920-30s American art world, and focuses on the discursive meaning of the rural everyday images. Discussion on Sheeler’s close companion, William Carlos Williams, brings in insightful information in understanding the cultural context better. The ways that Sheeler portrayed both machines and everyday objects as icons of American identity reveal many of the complexities of the interwar period and the art world of the given period.

탈국가주의 시대의 학문분야로서 ‘미국미술사’의 현 위치

신채기(申彩基) 한국미술연구소 2012 美術史論壇 Vol.- No.35

This paper discusses the brief history of the academic discipline, American Art History, since it first emerged in the 1960s academia to the present. The paper focuses on how the central effort of the American art scholars lied on indentifying and discussing the ‘Americanness’ of American art. It proves in various ways how the core concept of identity and modernity have never been absent from writing on American art and discusses how such efforts did not necessarily end up in a seamless coherent narrative. After discussing the history of the American Art History discipline in Chapter 2, and the issue of ‘Americanness’ in the scholarship of American art in Chapter 3, Chapter 4 deals with some crucial points where the different understandings of ‘Americanness’ collide in the history of American art. The cultural discourses behind the 19th century American landscape paintings and 20th century cityscape paintings, as well as the understanding and reception of Abstract Expressionism as a purely American heritage are discussed. The last part of Chapter 4 discusses the changing notion of identity itself which adds complexity to the understanding of the American identity as an essentialist, separatist term. The paper concludes by discussing the current scholarship in the field, change of methodology, and interest. Questions concerning the interaction of cultural forms and artistic tradition within a multi-ethnic and muti-racial population are discussed as well as the new relevance United States as a focus of art historical inquiry. It also point out how the growth, stimulated by an expansiveness and liberality, paradoxically, blurred the boundaries of the field of American Art History. The paper ends with the discussion of American art in the global context. The constantly shifting boundaries of American art history within the hybrid society generates further socio-political interest energizing the field.

“뉴욕은 큐비즘적인 도시” - 1910년대 미국미술계와 큐비즘의 수용 -

신채기 사단법인 한국조형디자인협회 2022 조형디자인연구 Vol.25 No.2

As a style, Cubism was one of the most influential and widely spread art movements in the 20th century. Cubism was integrated into the cultural scenes of different nations diversifying in various forms. In America, Precisionism of the 1920s is generally regarded as an outcome of such influence. However, the first general encounter of Cubism in America was made during the 1910s, and efforts to incorporate the Cubist language in American soil took place even then. This paper investigates the reception, adaptation, and integration of the Paris-based Cubism in the context of 1910s America. It explores how Cubism’s penetration of public consciousness was made possible through the Armory Show and related media, which strangely focused on Duchamp, not Picasso, as the leading figure of the Cubist aesthetics. In the midst of such confusion, Duchamp and Picabia, along with a group of American artists, critics, and press, played an important role contributing to the idea of “New York, the Cubist City.” Skyscrapers and bridges emerged as favorite subject matters painted by American artists in general, but the “swaying nature” of the Woolworth Building and the Brooklyn Bridge were particularly suitable to the Cubist language due to their movement and modernity. In this regard, works by John Marin, Max Weber, and Joseph Stella shows how American artists incorporated “American subject matters” into their cubist pictorial space as a strategy to differentiate their art from the Europeans. As a complex cultural space where Dadaism, Cubism, and Futurism met and collided, the 1910s American art world found an outlet for cultural translation through images symbolizing American Exceptionalism.

다문화시대의 한국미술과 그 정체성

신채기 계명대학교 한국학연구원 2014 한국학논집 Vol.0 No.55

영남문집해제 : 인재집 (忍齋集)

신채 영남대학교 민족문화연구소 1988 민족문화연구소 자료총서 Vol.4 No.-

미국 미술의 국제화 과정과 이민자 미술의 역할

신채기 ( Chae Ki Synn ) 한국미국사학회 2004 미국사연구 Vol.20 No.-

토머스 에이킨스: 해부학, 리얼리즘, 그리고 일그러진 근대의 초상

신채기 미술사학연구회 2011 美術史學報 Vol.- No.37

Known as one of the most representative American Realist painter, Thomas Eakins(1844—1916) is unique in the art world in his time and place for the extent of his involvement with scientific and mathematical concerns, aspects of which gained new impetus from developments in the Guilded Age period. His interest in medicine, in particular, informed his art would not be equaled by any other painter in America at the time. This paper aims to explore how Thomas Eakins' interest in medicine (anatomy and dissection) affected his life and work. My analysis centers around Eakins' (semi—)nude paintings as well as the two clinic paintings, <The Gross Clinic>(1875) and <The Agnew Clinic>(1889). After chapter one which provides the introduction, chapter two of this paper discusses Eakins' work in relation to some previous scholarship which reflected an interpretation of the painter's legacy that was in effect a myth of heroism. Eakins was often interpreted as a heroic, scientific realist who fearlessly recorded the visual facts, no matter how unpleasant that “truth” might be for his viewers or how detrimental to his career. He was also understood as an artist whose work celebrated heroic, contemporary individuals. Not only his works, but the method he incorporated, and the education he received, added up to present Eakins as the icon of American modernity. However, in reconstructing the relationship between Eakins' art and its context, we find more problematic aspects of Eakins' life particularly involving the issue of sexuality. The third and fourth chapters comprise the main arguments of the paper. The third chapter explores how the artist's commitment to anatomy—based teaching methodology becomes a critical threat to artist's career. The discussion inevitably brings in the discussion of sexual ideology of the 19th century Philadelphia art world. the second part of chapter three re—reads Eakins' clinic paintings in attempt to trace the marks of sexual tension hidden in the works. Eakins' relentless pursuit of visual “truth” in appearance is questioned in the fourth chapter of this paper. What seems to be a documentary, archival record of what had actually happened before the artist's eye could be a constructed reality reflecting the artist's own subjectivity and unconsciousness desires. Accordingly, <Gross Clinic> and <Agnew Clinic> are read with allegorical meaning reflecting the artist's life and career in the last chapter. In conclusion, the paper discusses how Thomas Eakins's art reveals various contradictions and paradoxes involving aesthetic expectation, sexual ideology, the discourses of Modernity, and American Realism. Eakins's interest in medicine lies at the center of such contradictions, holding together the paradoxical elements in a creative tension.

알프레드 스티글리츠와 ‘미국적 모더니즘’의 신화

신채기 서양미술사학회 2005 서양미술사학회논문집 Vol.23 No.-

미술 작품의 프랙탈 차원 연구

신채기,허아영,김슬기,박철용,Synn, Chaeki F.,Heo, A-Young,Kim, Seul Gee,Park, Cheolyong 한국데이터정보과학회 2016 한국데이터정보과학회지 Vol.27 No.2

In this study, an analysis is performed for comparing the fractal dimension of Jackson Pollock's art works with that of Korean Infomel art works. In order to test the hypothesis that Jackson Pollock's fractal dimension is different from Korean Informel's, data is collected for the fractal dimensions of 30 Jackson Pollock's and 45 Korean Informel art works. The results show that Korean Informel's fractal dimension is larger than Jackson Pollock's. This might be interpreted that the pattern (in finer scale) of Korean Informel art works is closer to planes, rather than lines or points, compared to that of Jackson Pollock's. 이 연구에서는 드립페인팅(drip painting)으로 유명한 잭슨 폴록(Jackson Pollock)의 작품과 이와 흡사한 형식을 가진 한국 앵포르멜 작업 (Korean Informel art)들에 나타난 프랙탈 차원 (fractal dimension)에 대한 분석을 시도하였다. 구체적으로 폴록과 한국 작가들의 프랙탈 차원이 다를 것이라는 가설을 통계적으로 검정하기 위해 30개의 폴록 작품과 45개의 한국 작가들의 작품을 사용하였다. 그 결과 폴록에 비해 한국 작가들의 프랙탈 차원이 통계적으로 더 높은 것으로 나타났다. 이는 폴록에 비해 한국 작가들의 작품의 패턴이 (세밀한 척도에서) 보다 평면적이라 해석될 수도 있을 것이다.

정밀주의담론과 그 배후의 정치성

신채기 현대미술사학회 2004 현대미술사연구 Vol.16 No.-

From the early 1920s to the contemporary era, Precisionism has generally been regarded as a significant art movement in modern art history. The name of this movement appeared in major survey textbooks on Modern Art, explaining it as a unique, American version of modernist painting. Scholarship on Precisionism accumulated during the past 80 years. However, a closer look at Precisionism reveals that Precisionism does not suffice the conditions to be called an art movement By surveying documents and literature on Precisionism, this paper intends to reveal the politics embedded in the discursive formation of Precisionism and intends to seek more justifiable ways to discuss its significance. The paper is consisted of three parts. Chapter One deals with the emergence of Precisionism. Records show that Sheeler, O'Keeffe and Driggs all denied of being called a Precisionist even though they were considered to be the most important artists of the movement In addition, there were no organized group with any artistic goal behind the Precisionist movement. Precisionism was simply a tendency some American critics believed to have existed in the American art world during the 1920s. In other words, Precisionism was based on the assumption that certain qualities befitting the Precisionist aesthetics-whatever that might have been-existed. Chapter Two considers various scholars' effort to discuss Precisionism in relation to formalism. Milton Brown is particularly important for this reason because he was the first to establish theoretical grounds for such interpretation. Paradoxes and contradictions in other formalist studies are further explored in this chapter. Chapter Three examines contextual studies on Precisionism. Considering Precisionist painting within the rhetorics of scientific management, many of the contextual studies read Precisionism as a visual effect of Fordism or Taylorism. Such studies, however, by avoiding to discuss organic/agrarian imagery of O'Keeffe or Sheeler, forces a reductionist interpretation of the movement. Few studies done recently will focus on these organic/agrarian imagery acknowledging the ambivalence and complexities in the Precisionist movement, but the basic question remains: What exactly is Precisionism and how can it be defined? As such, the present scholarship on Precisionism reveals that Precisionism was a set of rhetorical construction fabricated by American critics and scholars for the past 80 years. Obsessed by the notion of creating an art culture that was distinctively American, the discourse of Precisionism evolved in to a gigantic scale and solidified its status in art history. However, this movement was more of a ghostly discourse which only happened in theory.