• The Journal of Art Theory & Practice
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• no.3
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• pp.109-116
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• 2005

• The Journal of Art Theory & Practice
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• no.3
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• pp.117-134
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• 2005

• Proceedings of the Korea Contents Association Conference
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• 2004.05a
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• pp.562-565
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• 2004

본 작품은 보통의 애니메이션에서 나타나는 캐릭터는 등장하지 않고 거의 시종일관 미술적으로 창조된 이미지들의 애니메이션이다. 흔히 구체적인 스토리에 의해 등장하는 캐릭터들의 움직임 및 그 감정을 표현하는 애니메이션과 본 작품과 같이 구체적인 대사나 캐릭터에 의존하지 않는 이미지애니메이션을 비교해 보면 이미지애니메이션은 감독의 의도와는 상관없이 관객에 따라 느끼는 감정이 다양할 수 있다. 이는 추상미술을 감상하는 것과 같이, 보는 이에 따라 전혀 다르게 해석할 수도 있지만, 전체적인 분위기에서 감독이 의도한 것이 무엇인가를 생각하면서 감상하는 것도 좋은 감상법일 수 있다.

• The Journal of Art Theory & Practice
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• no.3
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• pp.135-154
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• 2005

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of 'Korean Modernism in Art', which flourished in 1970s followed 'Informal Art Movement' in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of 'Korean Modernism in Art', while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as 'Korean Modernism in Art', and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of 'Korean Modernism in Art' especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

• Proceedings of the Korean Society for History of Mathematics Conference
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• 1999.11a
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• pp.8.1-8.1
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• 1999

• The Journal of Art Theory & Practice
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• no.3
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• The Journal of Art Theory & Practice
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• no.3
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.1-11
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• 2009

This study focuses on Abstract Types in Contemporary Landscape Design. The formation and artistry of contemporary landscape design reveals many areas which Previously have not been able to be expressed in scenic landscape thanks to the deviation of the genre in contemporary landscape and the hybridization that has occurred among architecture, landscape and art genres. The focus of this study is basic research concerning "the abstract", which is used as a creative artistic theory in a variety of art fields such as landscape, architecture and painting. Through a theoretical establishment of "the abstract", its process of change, and the discovery of its contemporary principles, the relationship between each art field in landscapes and the formation of the abstract, abstract language, and abstract properties have been studied. The use of the abstract in contemporary landscape design can be classified in three ways: Inductive abstract representing conceptual transcendental symbols not logically but rather through intuition and transcendental cognition to display the inner expressions, ideas and minds of the artists. Second, a deductive abstract represents an expansive, logical model for the simplification of objects, distortion, exaggeration based on knowledge and logical reasoning about objective fact based on traditional realism. The complexity of the abstract is a concept that is bound to both the deductive & inductive abstract. As a major trend, the concept of "The abstract" in contemporary landscape has been putting forth ever-deeper roots. New trends like abstract works and landscape architecture reflecting the artist's inner expression, in particular, will provide fertile soil for landscape in the future. Further research about the concept of "the abstract" will also be necessary in the time to come.

• Conservation Science in Museum
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• v.27
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• pp.23-38
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• 2022

The standing plaster figure entitled is an early work from Choi Man Lin's 'Eve' series. It reflects the aesthetics of abstract sculpture in the period following Korea's liberation from Japanese colonial rule. Modern and contemporary sculptures can be made from a wide variety of materials, so the particular selection of materials and expressive techniques are indicative of both the artist's intentions and the zeitgeist of the moment. In this regard, the materials and production techniques used in provide important basic data for the chronological study of Choi's artistic development. In this study, scientific analysis was conducted to reveal the production techniques used in the work. The scope of appropriate conservation treatment was decided through consultation between several people with decision-making authority. First, the internal structure was inspected using X-CT scanning, and a material analysis was conducted to identify the formal characteristics, materials, and production techniques found in the work. As the analyses revealed the work to be in a relatively stable state, only minimal conservation treatment was applied based on the opinions expressed by the institution housing the work, by a former assistant of the artist, and in an interview granted by the artist during his lifetime.