1960년대 한국 실존주의와 현대조각 : 오종욱(吳宗旭) 조각을 중심으로

다국어 초록 (Multilingual Abstract)

If the fine arts based on the European Existentialism after the Second World War had started saying‘ no’ about all that is humane, asked the meaning of ‘existence’ from the‘ no’, and expressed‘ essence and reality’ of human, the Korean fine arts accepted psychological responses about the absurd situations being the reality of the times of the 4․19 revolution and the 5․16 military coup in the 1960s after the Korean War as the universal dimension of the human spirit. The Korean artists started to accept Existentialism from the 1950s, which appeared actively in the early 1960s, and especially intellectual-oriented Existentialism was a representative of the times.
In those days, younger generations gained their experience of the Korean War at first hand, and revealed political and social negation and challenge of all existing values with the oppressed mood. Their essential expressions began with the existential question and rebellious violence which were shared with the writers of younger generation who tried to correspond existential situation and consciousness of heated lives on their own art. If Europeans after the Second World War had found the answer about serious question like "Who Am I ?" in the form of Existentialism, the Koreans tried to find the answer about their own lives in absurd situation of the times after the Korean War.
The Sculptures of Oh Jongwook also changed in the 1960s through his selfconsciousness of the social situation and war experience. The tragedy of the human death appearing remarkably among his sculptures was expressed as a part of the heated lives of the absurd social conditions in those days. His main style was iron-welding. Because of his sensitive response on the condition of the times, the works of molding expressing the death appeared in those of Choi Manlin, Ko Youngsoo, and Shin Sukpil. In Europe, the absurdity of the humanbeings in the sculptures of Germaine Richier and Ce'sar Baldacchini was symbols of pain, isolation and fear.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 1960년대 시대적 상황과 실존주의
• Ⅲ. 조형세계의 형성
• 1. 오종욱 조각의 기저
• 2. 구상적 인체 탐구와 금속재료의 도입
• 3. 심리적 표현의 상징성
• Ⅳ. 맺음말
• 참고문헌
• Abstract

참고문헌 (Reference)

1 허버트 리드, "현대미술의 원리" 열화당 1981

2 국립현대미술관, "한국현대미술의 시원" 삶과 꿈 2000

3 오상길, "한국현대미술 다시 읽기-Ⅳ" ICAS 2004

4 최태만, "한국조각의 오늘" 한국미술연감사 1995

5 서성록, "한국의 현대미술" 문예출판사 1994

6 이기상, "한국의 해석학적 상황과 초월적 자아-현상학, 실존철학의 수용과 한국철학의 정립" 철학연구회 1997

7 김이순, "한국용접조각과 실존주의, In 한국근대미술사학" 2002

8 박래경, "조각가의 하루: 오종욱" (여름) : 1977

9 "제9회 현대미전 초대작가"

10 오광수, "이야기 한국현대미술, 한국현대미술 이야기" 정우사 1998

11 "오종욱(1회 개인전 팜플렛)"

12 임헌영, "실존주의와 1950년대 문학사상" 한길사 1988

13 G. Novack, "실존과 혁명" 한올 1983

14 김영주, "세계로 통하는 전위미술-현대미전 초대 외국작가 작품평"

15 R. G. 콜링우드, "상상과 표현-예술철학적 원리" 고려원 1996

16 허버트 리드, "도상과 사상" 열화당 1982

17 김재현, "남북한에서 서양철학의 수용의 역사" 1997

18 "경기연합일보, 1969년 4월 19일자 기사"

19 Smisth, David, "Sculpture and Writings" Thames and Hudson 1988

20 정금희, "20세기 서양조각의 거장들" 재원 2000

21 정희모, "1950년대 한국문학과 서사성" 깊은 샘 1997