박정희 정부의 문예중흥정책과 현대미술 = The Culture and Arts Revival Policy of President Park Chung-hee and the Korean Modern Art

다국어 초록 (Multilingual Abstract)

In the 1960s and 1970s, the abstract art blossomed fully and the public art of government was actively producted. The May 16 military government carried out reform on the National Art Exhibition, to retire the senior artists who held on to the old way of figurative art and expand opportunities for young avant-garde artists.
The style of art informel, adopted from the Western art in protest of the feudalism in the Korean society, became the symbol of revolution and was given the same tasks with those of Park’s regime: growth, construction and progress. In the 1970s, the emphasis was put on history and tradition to strengthen the national identity and unity. Park’s regime led the production of ‘Documentary paintings(민족기록화)’ and public sculptures to bring to light the part of history or tradition that supported the national ideology. His ideology was also fully reflected in the National Art Exhibition. The movement of monochrome paintings emerged in Korea during the Yushin era and it helped the active development and use of the traditional thoughts and art media and materials that led to the establishment of the Korean modernism which resembles the discourse in the Korean democracy.
‘Art informel’ and ‘Monochrome paintings’ are, above all, from a pure perspective of art history, considered as one of the achievements of the Korean modern art, for they were developed in the efforts to keep pace with the international trends, as well as to adhere to Korea’s national identity. If art is viewed only in relations with politics, it may lead to mistake of overlooking its importance from a pure view of art history. However, it is difficult to discuss the Korean art in the 1960s and 1970s without connecting it with the regime’s awareness and policies of culture and arts, as it was a turbulent period that everything was caught in a maelstrom of political ideology.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 5ㆍ16 군사정부와 추상미술의 咆號
• Ⅲ. 민족문화와 전통의 재창조
• Ⅳ. 나오는 말
• 참고문헌
• ABSTRACT

참고문헌 (Reference)

1 김미정, "한국 앵포르멜과 대한민국미술전람회-1960년대 초반 정치적 변혁기를 중심으로" 한국근현대미술사학회(구 한국근대미술사학회) (12) : 301-342, 2004

2 김현화, "한국 모노크롬 회화의 ‘沈黙’ 노엄 촘스키의 사상적 관점에서 분석 고찰" 한국미술연구소 (37) : 295-324, 2013

3 전인권, "박정희 평전" 이학사 2006

4 안인기, "박정희 시대의 민족주의와 미술의 변화에 대한 연구" 한국예술교육학회 9 (9): 33-44, 2011

5 임학순, "박정희 대통령의 문화정책 인식 연구 － 박정희 대통령의 연설문 분석을 중심으로" 한국예술경영학회 (21) : 159-182, 2012

6 김미정, "모더니즘과 국가주의의 패러독스 정치·사회적 관점으로 본 전후(戰後) 한국현대미술" 미술사학연구회 (39) : 34-64, 2012

7 Mainardi, Patricia, "The End of the Salon" Cambridge University Press 1993

8 Hobsbawm, Eric, "Introduction: Inventing Traditions" Cambridge University Press 1983

9 박계리, "1970년대 한국 모노크롬의 기원과 전통성" 2002

10 이인범, "1960년대의 한국 추상미술과 국민국가 형성" 미술사학연구회 (35) : 43-74, 2010

11 배임자, "1960년대 한국 西洋畵同人에 대한 연구" 연세대학교 대학원 2012

12 오명석, "1960~70년대의 문화정책과 민족문화담론" 4 : 1998

13 김미경, "1960-70년대 한국의 실험미술과 사회 : 경계를 넘는 예술가들" 이화여자대학교 대학원 2000

14 박혜성, "1960-1970년대 민족기록화 연구" 서울대학교 대학원 2003