• Title/Summary/Keyword: mook

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Effects of Added Corn Starches and Hydrocolloids on the Characteristics of Mungbean Starch and the Mook(Starch Gel) (옥수수 전분과 Hydrocolloids 첨가가 녹두 전분 및 묵의 특성에 미치는 영향)

  • Park, Ok-Jin;Kim, Kwang-Ok
    • Korean Journal of Food Science and Technology
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    • v.20 no.4
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    • pp.618-624
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    • 1988

  • This study was conducted to observe the effects of partial replacement of mungbean starch(MB) with dent(DT) or cross-linked(CL) corn starches, and of added hydrocolloids on the characteristics of mungbean starch and the mook. The replacement with CL caused less changes compared to that with DT in phase transition enthalpy of MB measured with defferential scanning calorimeter. The viscosity of MB paste cooled to $50^{\circ}C$ after heating was also affected less with CL than with DT. The addition of hydrocolloids to mixed starches of MB and CL did not affect initial viscosity increase but resulted in marked increase in viscosity at later stage of heating. Mixed monks with CL were more similar to MB monks than those with DT. Hydrocolloids added to MB-CL mixture further decreased the gap between monks with and without CL.

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Power in Exhibitions: The Artworks and Exhibitions in the 1960s through the 1970s (전시와 권력: 1960~1970년대 한국 현대미술에 작용한 권력)

  • Kim, Hyung-Sook
    • 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.

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