물질의 소멸과 예술의 탄생 : 마르셀 뒤샹의 <분수>와 펠릭스 곤잘레스-토레스의 <러버보이>

우정아 미술사와 시각문화학회 2008 미술사와 시각문화 Vol.7 No.-

The social phenomenon after the recent tragic loss of Sungnyemun and the ensuing polemics surrounding its reconstruction initiated serial questions about the status of a symbolic object in a national community. In this paper, the case of Sungnyemun is critically interpreted in order to expand the inter-related issues of material culture study and art history: first, how to distinguish a simple object and a symbolic artifact; second, how the material objects are imbued with immaterial values, including aesthetic originality and cultural significance; third, how to understand the interaction between society and symbolic objects, through which the individuals are socialized and the collective identity of a community is constructed. The following analyses of Marcel Duchamp's Fountain and Felix Gonzalez-Torres's Lover Boy, the two most prominent artistic models that address these issues will shed a new light on the meanings of original artwork and its discursive relationship with community. In the case of Duchamp's best-known readymade, Fountain, the original work was mechanically produced, while the process of its reproductions was highly controlled and the outcomes were carefully crafted by the artist. The range of histories of the things functioning as replicas of the lost Fountain reveals the intensity of the aspiration of the author to preserve the authenticity of the original and subsequently the authority of the artist by putting the copies in circulation. Gonzalez-Torres, in contrast, suggested the "economy of gift" by presenting piles of candies and endless copies of paper, which are free for the audience to take home. Thus, his works defy the traditional value system sustaining the superiority of originality, uniqueness, and authenticity. I argue that Gonzalez-Torres's body of works ultimately creates a new mode of community, which is bound less by the desire for possession, rather than by shared responsibility of meaning.

1989년도 일본 우정사업의 결산

우정대신관방 정보통신정책연구원 1990 우정정보 Vol.1990 No.4

임상증례 구연발표 : Titanium reinforced e-PTFE membrane을 이용한 수직 치조제 증대 술의 임상증례

우정아,허익,권영혁,박준봉,정종혁 대한치주과학회 2004 대한치주과학회 학술대회자료집 Vol.2004 No.2

한포진 치료의 중의학 임상연구 동향 - 무작위 대조군 임상연구를 중심으로 -

우정아,박범찬,최일신,김기봉,천진홍,Woo, Jeong A,Park, Beom Chan,Choi, Il Shin,Kim, Kibong,Cheon, Jin Hong 대한한방소아과학회 2021 대한한방소아과학회지 Vol.35 No.4

Objectives The purpose of this study is to analyze clinical studies on the effectiveness of TCM (traditional Chinese medicine) for pompholyx treatment and provide evidence for Korean medicine use. Methods Randomized controlled trials (RCT) which used TCM as a treatment for pompholyx were searched in China National Infrastructure (CNKI) platform. The risk of bias of studies was assessed by using Cochrane risk of bias (RoB) 2.0 tool. Results The selected 10 RCTs showed that the experimental group treated with either TCM alone or with a combination of TCM and Western medicine showed more significant therapeutic effect compared to the control group which Western medicine alone. Conclusions Based on the studies from China, TCM may be an effective treatment for pompholyx. This provides evidence for Korean medicine use, and its possible effectiveness in treating pompholyx

표면처리 시간에 따른 임플란트 미세구조의 변화;SLA와 TB 표면 임플란트

우정아,허익,권영혁,박준봉,정종혁,Woo, Jung-A,Herr, Yeek,Kwon, Young-Hyuk,Park, Joon-Bong,Chung, Jong-Hyuk 대한치주과학회 2005 Journal of Periodontal & Implant Science Vol.35 No.4

Mechanical and chemical methods are the two ways to treat the implant surfaces. By using mechanical method, it is difficult to eliminate bacteria and by-products from the rough implant surface and it can also cause the structural change to the implant surface. Therefore, chemical method is widely used in order to preserve and detoxicate the implant surface more effectively. The purpose of this study is to evaluate the effect of tetracylcline- HCl on the change of implant surface microstructure according to application time. Implants with pure titanium machined surface, SLA surface and $TiO_2blasted$ surface were used in this study. Implant surface was rubbed with sponge soaked in 50mg/ml tetracycline - HCl solution for $\frac{1}{2}$ min., 1min., $1\frac{1}{2}$ min., 2 min., and $2\frac{1}{2}min.$ respectively in the test group and with no treatment in the control group. The sponge was soaked in every 30 seconds. Then, the specimens were processed for scanning electron microscopic observation. Based upon the analysis of photographs by three dentists who are not related with this study, the results were obtained as follows; 1. In the pure titanium machined surfaces, the control specimen showed a more or less rough machined surface composed of alternating positive and negative lines corresponding to grooves and ridges. After treatment, machining line was more pronounced for the control specimens. but in general, test specimens were similar to control. 2. In the SLA surfaces, the control specimen showed that the macro roughness was achieved by large-grit sandblasting. Subsequently, the acid-etching process created the micro roughness, which thus was superimposed on the macro roughness. Irrespective of the application time of 50mg/ml tetracycline - HCl solution, in general, test specimens were similar to control. 3. In the $TiO_2blasted$ surfaces, the control specimen showed the rough surface With small pits. The irregularity of the $TiO_2blasted$ surfaces with 50mg/ml tetracycline - HCl solution was lessened and the flattened areas got wider after 1 minute.

긴 터널의 끝으로 : 빛展 2021. 12. 21~5. 8 서울시립 북서울미술관

우정아 에이엠아트 2022 Art in culture Vol.23 No.4

오노 요코의 <그레입프루츠(Grapefruit)> : 공포와 좌절, 아브젝시옹(abjection)의 퍼포먼스

우정아 미술사와 시각문화학회 2007 미술사와 시각문화 Vol.6 No.-

오노 요쿄의 초기 퍼포먼스는 주로 페미니즘 미술의 시발점이나 개념미술에서 표방하는 제도비판의 일환으로 해석되어왔다. 그러나 오노의 작품은 보편적인 페미니즘 이론이나 제도비평이라는 추상적 논리로는 환원되지 않는 공포와 좌절이라는 구체적인 감각을 수반한다. 이 논문에서는 줄리아 크리스테바의 "아브젝시옹" 이론을 바탕으로 퍼포먼스의 구조를 분석하고, 작품에서 드러나는 비관습적인 재현방식이 아방가르드의 정치적 저항으로 연결되는 해석의 틀을 제시한다. Yoko Ono's Grapefruit: The Performance of Horror, Frustration, and Abjection Jung-Ah Woo This paper deals with Yoko Ono's Of A Grapefruit in the World of Park in its multiple forms of poetry, musical score, and performance. The artist's seemingly private desire for acceptance and her fear of rejection are accounted for in terms of the fundamental loss of nation. This locus of loss is further related to Ono's exploration of the structural impossibility of representation. In place of conventional representation, Ono's works mobilize fragmented texts, hidden images, and disorderly theatrical ambience as a means to reenact the psychophysical effects of the horror, as well as generate the anxiety, of the ultimate failure of communication. Indeed, Ono's profound anxiety in relation to the devastating impact of recurring war and the pressing question of art's political responsibility were implicitly and explicitly inscribed in her body of works. The tension between the ascetic, sophisticated, and highly aesthetic realm of the Zen paradigm and the violent, corporeal, and extremely resistant sphere of "authentic" Japanese culture fueled the dynamics of Ono's practices within the context of Japanese avant-garde art of the 1960s. The issues of cultural origin are theorized in terms of the abject and poetic language as conceived by Julia Kristeva. Ono's Cut Piece, undoubtedly her signature work, is a startling embodiment of the longing for a collective unity on the one hand, and a horrific display of violence against differences for the sake of the unified community on the other. Significantly, this frustrated desire for communal unity was later channeled into political protest during the turbulent era when memories of Hiroshima overlapped with the disaster of the Vietnam War.

프란시스 알리스: 도시를 걷는 미술가

우정아 미술사학연구회 2014 美術史學報 Vol.- No.43

This study explores the principle of futility that persistently presides over the works of Francis Alÿs. Bornin Belgium, Alÿs has been working primarily in Latin America based in Mexico City, and since the 1990s,his artistic practice has revolved around ‘strolling.’In art history, strolling is frequently associated with flâneur, which was highly praised first by CharlesBaudelaire in the late 19th century and later by Walter Benjamin. However, there exists a crucial differencebetween the flâneur, a quintessencially Western subject roaming around the modernized space, and Alÿs,a European artist who felt disoriented in Mexico City, where the Western-oriented idea of capitalism andmodernization was incompletely transplanted. Alÿs’s walking is usually accompanied with specific props or behaviors, such as a magnetic puppy thatcollected the metal debris en route, a paint can with a hole from which paint leaked throughout the walk,or a sweater that unravelled a string. When these seemingly poetic behaviors were combined with thespaces, which are charged with historical meaning and political implication, the walking became the willfulintervention to the social issues of the spaces. In this study, Alÿs’s intervention, which is based on inactivity and failure, rather than an active protestand resistance, is discussed in tandem with the discourse of Bartleby, the scrivener, the protagonist ofHerman Melville’s eponymous short story. In particular, Alÿs’s When Faith Moves Mountains is seen as thesite, where an alternative community, according to the discussions of Giorgio Agamben, Slavoje ŽiŽsek, andMichael Hardt and Antonio Negri, could possibly be realized. 본 논문에서는 벨기에 출신으로 멕시코시티를 중심으로 남미에서 주로 활동하는 미술가 프란시스 알리스의 ‘걷기’ 작업과 무위의 노동이 가진 정치적 의미를 살펴보았다. 미술사에서 걷는 행위는 샤를 보들레르와 발터 벤야민이 찬양했던 19세기 파리의 만보객을 통해 많은 논의가 되어 왔다. 그러나 모더니티의 상징이자 서구 사회의 주체로서 근대화한 도시를 관찰하며 유영하는 만보객과 서구적 자본주의가 불완전하게 이식된 남미의 대도시에 이주한 유럽인으로서의 알리스의 걷기는 완전히 다른 정치, 사회적 맥락을 갖게 된다. 알리스의 걷기는 1990년경부터 시작되었다. 강아지 모양의 자석 조형물로 거리에 버려진 쇠붙이들을 수집하고, 구멍 뚫린 페인트통을 들고 궤적을 그리며 도시를 걷고, 스웨터의 올을 풀어내며 걷는 일 등은 일견 별다른 의미는 없이 다만 일상과 동떨어진 시적 행위로 보인다. 그러나 알리스는 이러한 시적 행위와 대단히 구체적인 역사적 의미 혹은 정치적 함의가 있는 장소를 결합하여 사회에 개입하고자 한다. 알리스가 시도하는 개입의 종류는 기존의 투쟁과 저항과는 전혀 다른, 무위와 실패에 기반을 두고 있다. 본문에서는 알리스의 대표작, <믿음이 산을 옮길 때>를 중심으로, 허먼 멜빌의 소설, 『필경사 바틀비』에 대하여 질 들뢰즈, 조르조 아감벤, 슬라보예 지젝, 하트와 네그리 등 현대의 정치철학을 주도하는 학자들이 주장했던 비실천적 잠재성의 논의를 대입하여 무위의 의미를 재고하였다. 또한, 알리스가 지향하는 무위와 실패가 어떻게 1985년 대지진 이후 사회적 혼란을 겪었던 멕시코의 상황과 맞물려 새로운 정치적 개입의 가능성을 만들어내는지 논의했다.

Fluxus and the Politics of Zen Buddhism

우정아 서양미술사학회 2022 서양미술사학회논문집 Vol.56 No.-

Fluxus, as one of the most complex and ambiguous artist groups that emerged in the 1960s, is ever-contemporary that calls forth constant reexamination, redefinition, and reevaluation within the multiple criteria of contemporary art. I argue that the complicated aspects of Fluxus relate to strands of Zen Buddhism, and that these strands are interwoven with distinct historical and political contexts, where the modern discourse of Zen Buddhism was constructed and operated. I focus particularly on how wartime Japan’s nationalist propaganda of Zen Buddhism was de-politicized in the cultural arena of postwar America as a selfless spiritual discipline, and how this apolitical aspect of Zen was strategically utilized by George Maciunas, the Fluxus organizer, for avant-garde art practice. By positing the formation of Fluxus within John Cage’s experimental music, I complicate the Cagean principle with the discourse of Zen Buddhism in terms of its sociological significance within the turmoil of the 1960s, when the spirit of anti-authority and counter-cultural impetus erupted in the form of antiwar protests and the expansion of the awareness on cultural diversity. I argue that at the core of the tension between certain Fluxus artists and Maciunas resided their disparate understandings of Zen and the different ideological stances.

표면처리 시간에 따른 임플란트 미세구조의 변화 : SLA와 TB 표면 임플란트

우정아,허익,권영혁,박준봉,정종혁 대한치주과학회 2005 Journal of Periodontal & Implant Science Vol.35 No.4