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Mapping the East in the Universal History of Art
MURAI Noriko 현대미술사학회 2007 현대미술사연구 Vol.22 No.-
“Art” defined as a universal expression of human creativity is a modern concept. although the discourse of art originally emerged in the West and has worked to consolidate European hegemony, it historically required the absorption of non-Western Others in order to validate its claim of universality. Universal survey museums played an essential role in visualizing the universality of Art, and East Asian objects were the first category of non-Western objects that was Appropriated into this project. This paper examines the “elevation” of East Asian objects to “art” at the Museum of Fine arts, Boston in the early twentieth century, and uncovers the ideological and political motivations of American museums behind their promotion of East asian Art. The American desire to create a distinctly “american” cultural identity through Art museums furthermore converged with the interests of modern Japanese cultural nationalism through the figure of the Japanese Art critic Okakura Kakuz?, who worked as a curator of East asian Art at the Museum of Fine Arts, Boston.
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일본의 현대 꽃꽂이와 예술 범주에서의 미술사학의 가능성
노리코 무라이(Noriko Murai),이재은(번역자),박소현(토론자) 현대미술사학회 2009 현대미술사연구 Vol.26 No.-
Contemporary ikebana is a vibrant, challenging visual form that defies many of the popular assumptions held with regards to ikebana or the Japanese flower arrangement. Contemporary ikebana is not always bound by the traditional framework of ikebana, and as such, calls for a different kind of critical language. More specifically, the theory, practice, and institution of non-traditional ikebana reveal a series of interesting parallels to and divergences from those of art. The modern discourse of ikebana has been ambivalent vis-a-vis the discourse of art, simultaneously aspiring to yet distinguishing itself from the modern European-derived notion of “art.” In this respect, a historical analysis of ikebana in the modern period is relevant for the critical re-examination of Japanese art history since to think about ikebana inevitably leads one to think about the boundary of art. This essay proposes to situate contemporary ikebana at the boundary of art by considering issues such as the binarism of the amateur and the professional, the tension between autonomy and context, and the relationship between process and outcome in creative act. The participation of contemporary ikebana in the 2009 Echigo-Tsumari Art Triennial provides a concrete case study through which to examine these issues.
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