이중섭 카탈로그 레조네 연구 보고

목수현(Mok Soohyun) 한국근현대미술사학회 2018 한국근현대미술사학 Vol.36 No.-

전통과 현대의 다리를 놓다

목수현(Mok Soohyun) 한국근현대미술사학회 2011 한국근현대미술사학 Vol.22 No.-

Lee Kyung-sung(1919-2009) who has been known as an administrator and art critic, spent most of his life as a director at Incheon City Museum and National Museum of Contemporary Art, Korea. He laid the foundation stone of the study of Korean modern art. This study attempted to search his recognition of art history of Korea, focusing on the meaning of the modern art in Korean art history. Art History of Korea which was written by Lee Kyung-sung in 1962, is an early exemplary case among the same title books since the liberation in 1945. He wrote about modern art in the book, which is a very critical point that shows his perspective on art history since it has not been dealt with in any other book. He made every effort to collect traditional art works while serving as a director at Incheon City Museum and developed his ability to look at Korean traditional art works during frequent meeting with Choi Sun-woo at National Museum. Based on the recognition of modern art that connects traditional art to contemporary art, he established the foundation of description of modern art. He wrote a variety of fields such as painting, sculpture, crafts, the starting point of Korean modern art and etc. As the first researcher on modern art, the perspective on the classification of the periods of modern art shows some differences as studies progress. His studies on modern art considered the progress toward contemporary art. Lee Kyung-sung’s study on modern art history is connected with exhibitions through collecting materials and finding art works. His particular career as a curator at museums and art critic related to the study on art history made it possible to produce remarkable achievements.

1930년대 경성의 전시공간

목수현(Mok Soohyun) 한국근현대미술사학회 2009 한국근현대미술사학 Vol.20 No.-

The exhibition as a sightseeing was a trend in Kyungseong (京城) during the 1930s. The exhibition culture visualized the understandings about society, and it was widely spread all over the world, and it was both modern and western in East Asia, includeing Chosun. Traditionally, scholars would gather together and appreciate poems or drawings. However, this form was altered in that many anonymous audiences could appreciate the exhibited works while wandering (as a ‘flaneur’ by the mean of Walter Benjamin), or by taking a glance at the works. It was an innovative form of cultural experience, and it generated a new class called “audience,” who remained anonymous. The first big exhibition in Chosun was ‘Si-jeong O-nyun Ki-nyum Chosun Mul-san Gongjin- hoe (Competitive Products Exhibition Commemorating the Five Years of Japanese Reign, 施政 五年記念朝鮮物産共進會),’ in 1915. It exhibited not only artistic works, but also agricultural products and hand-made goods, and it introduced the new culture of exhibition to the people of Chosun. Although art was only one of the elements in the exhibition in 1915, it developed into the establishment of the Chosun-governor Office Museum and Chosun Art Exhibition, which constituted two pillars of the Chosun-governor office’s art policies. The art exhibition of Seo-hwa Hyup-hoe (an association of painters and calligraphers), held from 1921 to 1936, was led by a civil group and made use of school auditoriums to display works to the public. The Chosun Art Exhibition, the public exhibition held by the Chosun-governor office from 1922 to 1944, used Sang-pum-jin-yeol-gwan (commodity gallery) at first, and then the library of the office, or its previous office building to display the works. The Chosun Art Exhibition had no its own exhibition space until 1939. The auditoriums of newspaper companies, which were another place for exhibitions in the 1920s, were not solely used as exhibition halls, but also as composite spaces for various purposes. Since the 1930s, permanent exhibition halls began to appear, as the Mitsukoshi department store and Hwasin department store opened art galleries; the facilities were built thanks to the commercial distribution of art works. Another characteristic of the era is that cafes were used to exhibit art, although these displays were not permanent. The Modern Japanese Art Exhibition at Seokjojeon, located in Deoksu palace, began since in 1933, and the new wing of Yi-wanga Museum was built in 1938. Finally, the Chosun-governor office Museum was built in 1939. These were the beginning of permanent, public exhibition centers, and the mass exhibition culture originated from the establishments of these buildings.

조선미술전람회와 문명화의 선전(宣傳)

목수현 ( Soohyun Mok ) 한국사회사학회 2011 사회와 역사 Vol.0 No.89

조선미술전람회는 일제 통치기간 중에 시행된 대표적인 문화 제도의 하나였다. 시정오년기념조선물산공진회 등의 박람회가 산업화된 식민지 조선을 보여주고자 하는 정책적인 것이었다면, 조선미술전람회는 문명화된 조선을 선전하는 문화적인 전략이 깔려 있는 것이었다. 조선총독부에서 직접 실시하였던 이 전람회 제도는 관설 공모전으로서, 일본의 문전 제도를 본딴 것이었으며 대만의 대만미술전람회, 만주의 만주국 미술전람회의 본이 되기도 하였다. 조선인은 물론 식민지 조선에 거주하는 일본인들이 응모할 수 있었던 조선미술전람회는 조선총독부 학무국에서 직접 주관하였으며, 조선총독부에서 선임하는 심사원들에 의해 입선과 특선이 결정되었다. 따라서 조선미술전람회에 입선되거나 입상하는 작품들의 경향은 전기가 설치된 도시, 신작로, 공장지대 등 근대화된 조선을 가시화하여 보여주는 것이 많았다. 이 조선미술전람회는 경성일보, 매일신보는 물론 조선인들이 발간한 동아일보, 조선일보 등에서도 대대적으로 다루어 직접 전람회에 가지 않는 일본인과 조선인들에게도 선전되었으며, 조선의 문명화를 보여주는 효과적인 방편이 되었다. 이러한 선전을 통한 조선미술전람회는 거부할 수 없는 문화적인 유혹이었다. The Chosen Art Exhibition was a representative art institution during the Japanese colonial period. While The Chosen Industrial Exhibition Commemorating Five Years Rule represented the political will to visualize the newly industrialized colonial Korea, The Chosen Art Exhibition epitomized the cultural strategy to visualize civilized Korea. This art exhibition, produced by the Japanese colonial government was official competitive exhibition, which was modeled after Bunten in Japan. This also influenced Taiwanese Art Exhibition and The Art Exhibition of Manchukoku. In this exhibition, not only Koreans but also Japanese residents in colonial Korea could participate. It was organized by the bureau of education and culture of the Japanese colonial government and the judges appointed by the colonial government decided which art works to be accepted and to be awarded with special prizes. Therefore, the works accepted or awarded tended to visualize modernized Korea such as urban sights, newly constructed roads, and industrial complexes. This art exhibition was widely covered not only in Keijo Daily Newspaper and Maeil Newspaper published by the colonial government but also in Donga Daily Newspaper and Chosun Daily Newspaper published by Koreans to conduct propaganda even to the Japanese and Koreans who did not visit the exhibition site. This acted as an excellent device to visualize the civilizing Korea. Through this propaganda, the Chosen Art Exhibition provided a chance for the enthrallment in modern culture.

한국근현대미술사에서 제도에 관한 연구의 검토

목수현(Mok Soohyun) 한국근현대미술사학회 2012 한국근현대미술사학 Vol.24 No.-

This review aims to examine the researches on art institutions and education in the twenty years of Korean modern art historiography. The researches on art institutions are more or less focused on the organizations of artists such as groups of Seohwa Hyeophoe and Proletarian Artist Federation of the early twentieth century with scarce attention to the groups of the late twentieth century. The strong emphasis on nationalism and ideology in the early twentieth century affected this research tendency, compared to the diminished focus on such macro issues in the late twentieth century. For instance, the researches on exhibitions focus on the formation of Joseon Art Exhibition in the early twentieth century, compared to the modicum of researches on Art Exhibition of Korea in the late twentieth century. The historiography on art museums are also focused on Yi Royal family Museum, Chosen Gorverment General Museum, Yi Royal Family Art Museum with diverse researches on the roles and functions of museums since the establishment of National Modern Art Museum in 1969. The researches on art education have been covered in the field of art education. The researches on the Artist Groups of Paintings and Calligraphy of the early twentieth century are actively conducted with researches on Tokyo Art School and Imperial Art School of Japan. After Liberation, the researchers more or less focused on university art education. Currently, the researches on art market and art publications are also on the rise. However, the researches on art institutions are lacking depth and substance yet, requiring for further sophisticated researches.