Earticle

초록

영어

This paper examines a number of Korean artists--Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc--working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style’s cutting edge cache in Korea. While their turn to abstraction was outdated from New York’s critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists’ struggle while caught between a dualistic framework such as Korea/U.S, East/ West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art’s legacy imposed upon them over the course of Korea’s tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

목차

I. 들어가면서
 II. 냉전시대의 한국 작가와 뉴욕 이주
 III. 1960-1970년대 뉴욕의 한국작가와 추상미술
 IV. 추상: 디아스포라와 초국가성의 미술
 V. 나가면서
 참고문헌 Bibliography
 Abstract

키워드

저자

• 양은희 [ Yang, Eunhee | 숙명여자대학교 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  미술이론과 현장 [The Journal of Art Theory & Practice]

• 간기

  반년간

• pISSN

  1738-1789

• eISSN

  2508-3538

• 수록기간

  2003~2025

• 등재여부

  KCI 등재

• 십진분류

  KDC 601 DDC 701