현장 : 사랑하며가르치며 ; " 내 양을 먹이라 "

양은희 기독교대한성결교회 활천사 1998 활천 Vol.538 No.-

고인돌, 용, 엄지손가락, 세종대왕: 올림픽 조각공원 형성과정을 통해서 본 ‘미술과 공공장소’의 관계

양은희 현대미술학회 2008 현대미술학 논문집 Vol.1 No.12

This essay examines the Olympic Sculpture Park in Seoul as a public space, or heterotopia, a concept formulated by Michel Foucault. As a site consisted of heterogeneous functions and roles, the Park has been transformed from a political production to promote Seoul Olympics to a cultural arena for increasing middle classes in the south-eastern Seoul for the last twenty years. Over the years, it had to embrace diverse roles imposed or demanded by the public whose concerns and interests vary as time goes by. This study focuses on the roles of the public space and its relation to public sculptures. The two compete and reconcile as the society becomes affected by diverse ideologies. To illustrate these points, the thesis reads the Park's formative period between 1987 and 1988 when it was conceived and established to celebrate Seoul Olympics in 1988. By uncovering the archival materials and letters from the period, written by Pierre Restany, the French art critic, and others, this essay examines the Park's initial role as a forum to host the international artists' works semi-permanently and to become a landmark of Seoul. Yet, the role was difficult to accomplish even at that time. The various interests unprecedently expressed by many artists' groups and organizations in Korea made the process harder than the Olympic Organizing Committee first imagined. Compromises were made but the success of the park for outdoor sculptures was to face more challenges as the park become frequented by the increased number of people to attend concerts, meetings, and festivals. The thesis concludes with the idea that the roles of public sculpture in the public space are threatened and overshadowed by other social roles of the park as Foucault suggested. In the process, the dignity and autonomy of art is often forgotten and concedes to those other social roles. This essay examines the Olympic Sculpture Park in Seoul as a public space, or heterotopia, a concept formulated by Michel Foucault. As a site consisted of heterogeneous functions and roles, the Park has been transformed from a political production to promote Seoul Olympics to a cultural arena for increasing middle classes in the south-eastern Seoul for the last twenty years. Over the years, it had to embrace diverse roles imposed or demanded by the public whose concerns and interests vary as time goes by. This study focuses on the roles of the public space and its relation to public sculptures. The two compete and reconcile as the society becomes affected by diverse ideologies. To illustrate these points, the thesis reads the Park's formative period between 1987 and 1988 when it was conceived and established to celebrate Seoul Olympics in 1988. By uncovering the archival materials and letters from the period, written by Pierre Restany, the French art critic, and others, this essay examines the Park's initial role as a forum to host the international artists' works semi-permanently and to become a landmark of Seoul. Yet, the role was difficult to accomplish even at that time. The various interests unprecedently expressed by many artists' groups and organizations in Korea made the process harder than the Olympic Organizing Committee first imagined. Compromises were made but the success of the park for outdoor sculptures was to face more challenges as the park become frequented by the increased number of people to attend concerts, meetings, and festivals. The thesis concludes with the idea that the roles of public sculpture in the public space are threatened and overshadowed by other social roles of the park as Foucault suggested. In the process, the dignity and autonomy of art is often forgotten and concedes to those other social roles.

1980년대 한국미술에서의 ‘세계화’와 코스모폴리타니즘 : 1988《세계현대미술제》를 중심으로

양은희 한국미술이론학회 2015 미술이론과 현장 Vol.0 No.19

본 논문은 1988년 서울 올림픽의 부대행사로 열린 《세계현대미술제》를 중 심으로 한국미술의 세계화와 코스모폴리타니즘의 맥락을 살펴본다. 1980년대 국제전시의 확산과 함께 대두된 《세계현대미술제》는 냉전시대의 이념갈등 에도 불구하고 문화 교류와 소통의 공간 창출을 목표로 했으나 한국 미술계 의 이념적 차이가 노출되면서 여러 진영간 대립의 궁극을 보여주었다. 이러한 갈등은 한국이라는 특수한 지형에서 ‘세계’를 인지하고 ‘세계 문화’ 속으로 편 입되는 과정이 서구의 ‘세계화’와 코스모폴리타니즘의 전개과정과 다르게 1945년 이전 식민지 시대의 불편한 과거, 역사적 트라우마와의 타협과 화해 의 과정을 거칠 수밖에 없으며, 개인적, 집단적인 차원에서 내부/외부, 피식민 지/식민주의, 지역성/세계성, 추상/구상, 전통/현대 등 20세기 구축된 여러 대 립구도가 작용했기 때문임을 밝힌다. The 1988 《Olympiad of Art》 was the largest international art festival of the decade held as a highlight program of the Seoul Olympics. However, it became not only a locus of heated debate by national artists’ groups and organizations that wanted to have a ‘fair share’ of the government-sponsored festival, but also a test site for the imaginary community of artists without borders to exchange ideas and dialogues. This paper examines the issues of globalization and cosmopolitanism by focusing on the attitudes expressed by those groups. Despite their official demand for having a voice in selecting curators and artists, their logic reflected the unstable identity of ‘contemporary Korean art’ caught between the issues of the national/the international, the local/the global, abstract art/figurative art, and tradition/modernity, largely due to the influence of colonial modernity and westernization in Korea.

한국 근현대 미술에서의 민족주의와 코스모폴리타니즘: 글로벌 미술의 단초 찾기

양은희 명지대학교(서울캠퍼스) 인문과학연구소 2015 인문과학연구논총 Vol.36 No.1

The Korean contemporary art scene indicates that artists are conscious ofglobalization and the transnational art systems supported by cosmopolitan artists andprofessionals in the rest of the world. Yet, the current phenomena are indebted to thelong dualistic history of nationalism vs. cosmopolitanism since the colonial period whenthe concept of modern art was imported from the west and became the platform fornational identity against empirical cultural advances. It would not be an exaggeration todescribe nationalism as having determined the forms and logic of art trends since that time, while artists aspired to becoming familiar with art outside Korea. This paper examines the presence of the globalization process in Korean art or theimplementation of the so called ‘global art’ in the consciousness of artists in Korea. Moving away from the binary structures of nationalism and cosmopolitanism, I focusinstead on the dynamics of the two attitudes located in the texts and practices since the1920s. Close scrutiny reveals that while most of the discourses on Korean art dwelled inthe vicinity of nationalism as if it occupies the core of artistic identity, they alsoacknowledged art as an independent arena or common resource for bonding with theworld outside Korea. This paper traces such paths as discourses on ‘local color’ before1945, Dansaekhwa movement of the 1970s, and Minjung Misul of the 1980s, andemphasizes the ‘cosmopolitanization’ of Korean art and art systems throughout theperiods which eventually enabled the embrace of globalism through the newlyestablished museums and biennials in the 1990s.

[③ 인터뷰] 나와 한국, 이젠 말할 때다 : 〈한국현대회화전〉큐레이터, 101세 프세티 여사의 증언

양은희 에이엠아트 2022 Art in culture Vol.23 No.11

방근택의 미술비평론 : 계몽적 평론부터 포스트모더니즘의 수용까지

양은희 한국미술이론학회 2021 미술이론과 현장 Vol.- No.31

이 논문은 미술평론가 방근택(1929-1992)의 미술비평론을 고찰한다. 그는 1950년대 후반 이후 한국현대 추상미술의 이론화에 기여했고 이후 30년 넘게 활동하면서 3백편이 넘는 평문을 남긴 바 있다. 미술평론가에 대한 개념이 정립되지 않았던 척박한 시기에 평론가로서의 권위와 활동의 자유를 보장받지 못했음에도 고군분투하며 활동한 평론가이다. 이 논문은 그가 박서보의 도움으로 평론가로 데뷔한 후 서구 철학과 미술사 지식을 바탕으로 미술비평 또는 미술평론, 그리고 미술평론가의 필요성과 정당성을 설파하고 문예이론을 통해 후기구조주의와 포스트모더니즘을 수용하기까지 시대별 변화를 분석하여 그에 대한 재평가를 시도한다. 그의 평문을 통해 시대별로 그가 주목했던 주제들, 즉 평론가의 역할을 부정하는 작가들과 제도, 미술시장의 자본, 그리고 후기자본주의 사회의 변화에 저항하는 평론과 평론가의 역할을 살펴본다. This paper examines art criticisms of Bang Geun-taek(1929-1992) who pioneered theorizing contemporary Korean abstract art in the late 1950s. Active for more than thirty years, he left approximately three hundred reviews and articles but is relatively forgotten after his death. His path is worthy of revisiting since he paved his way as an art critic by arguing for the legitimacy of criticism and the roles of critics in the years when art writing was not fully matured into theoretical criticism. Following the periods from the 1960s to 1980s, this study analyzes how he took the European intellectuals’ writings for his perspectives and called for the need of independence of art criticism away from the control of artists. Prevalent in his writings is his idea of ‘an ideal critic’ who can fight against the mundane and eclectic attitudes, against the advance of art market, and finally against the domiciliating in old views.

글로벌 시대의 로컬 미술관 : 국내미술관의 글로벌네트워크 강화 사례를 중심으로

양은희 현대미술학회 2010 현대미술학 논문집 Vol.1 No.14

In this new era which oscillates between 'Macdonaldization' or homogenization and hybridization armed with fast trade and commerce, local cities are pressured to meet the so-called global standards in order to join the world-wide procession of cultural or consumer products. The trade-based networks control the current paradigm of the global world by creating fabrics of supraterritorial 'small boxes' which gradually demolish the homogeneous old communities. Contemporary art museums also face an age of globalization and glocalization based on the abstract concept of 'the global village.'In this era of networks and global competitions, it becomes imperative for the local museums to join the networking museum worlds and to create new identity that meets the global cultural standards imposed by the local city governments. Korean public museums,indebted its concepts and structures to Euro-American predecessors, attempt to practice networking with unchartered organizations out of their strategies for sustainability. Among their recent partners are museums in Southeastern countries and the South America which had been neglected in their exhibitions before 2000. Major local museums in Korea such as the National Museum of Contemporary Art and Seoul Museum of Art have ambitiously mounted international exhibitions following the above model yet revealed the lack of understanding on why networks become important and how new ideas and/or paradigms can be made out of the new relationships. Some of the exhibitions-<Asian Cubism>, <Asian Realism>-rely on the concepts of European art styles while others like <City-net Asia>fail to provide in-depth discussion on why and how exhibiting Asian art is significant for the current international fabrics. Hybridization of museum practices is found in Gwangju Museum of Art that not only puts exhibiting and preserving artworks in their priorities but also focuses on promoting local artists to the global art world in Seoul and Beijing. The museum has built several studio programs in the global cities including the local city Gwangju which hosts the large-scale Gwangju Biennale while running a rental space in Seoul that gives Gwangju artists a favorable charge.

1960-70년대 뉴욕의 한국작가 : 이주, 망명, 디아스포라의 미술

양은희 한국미술이론학회 2013 미술이론과 현장 Vol.16 No.-

베니스 비엔날레를 통해서 본 한국미술의 세계화와 코스모폴리타니즘

양은희 한국미술이론학회 2017 미술이론과 현장 Vol.0 No.24

Initiated by leading Korean artists and Nam June Paik, the Korean Pavilion at the Venice Biennale acted as bridge between Korean contemporary and global arts. Built in 1995 during the centennial of the Biennale it represented the binaries of decentralization of the main event as well as the globalization of the art world. This paper examines the impact of the Venice Biennale’s Korean Pavilion venue in three parts. First, it implemented the idea of a large-scale biennial which led to the establishment of the Gwangju Biennale. Second, the Pavilion gradually became a showcase of young, experimental, Korean national and expatriate artists (Jheon Soo-cheon, Kang Ik-Jung and Lee Bul) who by winning a series of prizes promoted the idea of transcultural contemporary art in Korea. Third, the newly-emerged artists, influenced by Paik, shared the values of cosmopolitanism of art and art community, shying away from the emphasis of the ideas of 'Korean-ness.’ 이 논문은 베니스 비엔날레 한국관 설립과 이후의 맥락을 고찰하며 한국관이 한국현대미술 과 세계미술의 공감대 형성과 문화적 코스모폴리타니즘의 확산의 장으로 구축된 과정을 살펴 본다. 한국미술계의 염원과 백남준의 적극적 개입으로 1995년 출범한 한국관이 1990년대 글로 벌 미술계의 변화와 베니스 비엔날레의 탈중심화 기조 속에서 한국미술에 미친 영향을 분석하 여 광주비엔날레의 설립과 이어진 국내 비엔날레 확산, 글로벌 미술의 포용뿐만 아니라 예술가 의 초국가적 활동과 초문화적 가치 수용으로 이어졌음을 밝힌다. 특히 그동안 한국미술의 주요 논리였던 민족주의와 지역성의 문제를 넘어 타문화와 소통하는 예술적 코스모폴리타니즘의 가 치를 수용하며 보편적인 ‘현대미술’을 지향하기 시작했다는 점을 강조한다.

온 카와라와 조셉 코수드 -미국개념미술의 형성과 와해 1964-1969

양은희 현대미술사학회 2004 현대미술사연구 Vol.16 No.-

This article examines how early Conceptual art was formed and broken down in New York between 1964 and 1969, focusing on On Kawara and Joseph Kosuth. Kawara and Kosuth exchanged opinions, socialized with each other, and participated in several significant exhibitions that contributed to shaping Conceptual aspects of the newly-emerged art. The point of this thesis is on the give-and-take between the two in October 1969 when Kosuth published “Art after Philosophy” and Kawara wrote “Conceptual Art” on October 7 in his date painting journal. I n this first part of three part essay, Kosuth lineated his perspectives on the meaning of “con ceptual” and legitimized his word-based art and Kawaras date paintings. Yet Kosuth attempted to promote his art in the same essay by legitimizing his works in the tradition of Ad Reinhardt and by critiquing other conceptualists. This act discouraged artists such as Robert Barry and Lawrence Weiner , and eventually broke down the already loose group of artists. Despite Kosuths recognition of Kawaras art as “conceptual,” and their mutual friendship from 1967, the two also became estranged after 1969. I argue that the model of Kosuth s aggressive self-promotion in the international capital of contemporary art not only served to split off the New York conceptualists but also drove hermit-like Kawara to pursue decentralizing as his tactic.