1980년대 「상(像)81」그룹 활동과 ‘새로운 형상성’: 임영길의 형상작업을 중심으로

이은주 한국근현대미술사학회(구 한국근대미술사학회) 2023 한국근현대미술사학 Vol.46 No.-

본 논문은 1980년대 한국화단에 등장했던 ‘새로운 형상성’에 관한 문제를 고찰하고, 주요 미술사조에 가려져 있던 「상(像)81」그룹 활동에 대해 살펴본다. 또한 젊은 세대에 의해 결성된「상(像)81」그룹의 창립 개념을 형상 연구 방법론을 적용한 작업으로 표출해온 임영길의 형상작업을 통해 분석한다. 「상(像)81」그룹은 김영순, 박철호(박모, 박이소), 신원섭, 임영길, 이종원 등 6인에 의해 창립되었다. 극사실주의 회화 이후 새로운 형상에 대한 논쟁적 이슈가 대두한 1981년부터 1983년까지 총 4번의 전시를 개최했다. 이 그룹은 말 그대로 ‘형상’ 연구를 전면에 내걸었다. 반추상, 안티-재현주의 등을 내세우며 구상과 추상의 미묘한 경계를 탐구했다. 「상(像)81」의 중심활동은 《동아미술제》에서 내세운 ‘새로운 형상성’ 탐구 문제와 직결되었다. 이들은 추상미술 이전의 구상, 현실을 재현하는 극사실주의 회화와 거리를 두었으며 부조리한 사회현실을 순식간에 옮겨냈던 민중미술 형상과도 달랐다. 「상(像)81」동인은 화단에서 새롭게 요구되는 ‘새로운 형상성’을 조용히 탐구했다. 이들은 추상을 안티테제로 두고 사실을 그대로 재현하길 거부했다. 상상과 기억 등 내면의 의식을 시공간의 문제로 환원시켰다. 개인의 체험에 입각한 형상성을 추구했다. 임영길은 「상(像)81」이 해체되고도 1990년대 초반까지 자신의 작품 제목을 줄곧 <상(Image)>이라 붙였다. 「상(像)81」을 통한 형상 연구는 작업을 하는 내내 중요한 화두로 작동되었다. 「상(像)81」회원들은 화면을 분할하거나 기하학적 선으로 화면을 완성했다. 임영길 역시 초기 형상 연구에서는 스프레이 질감으로 대상을 기하학적 도형으로 구축했다. 이 시기 판화는 산업화로 몰개성화된 인간의 표상을 표현하기에 적절한 매체였다. 1992년 뉴욕 시기 이후 형상 연구에 새로운 국면을 맞이한다. 그는 작품 제목을 <상(Image)>에서 차츰 변경해 나가기 시작했고, 움직이는 대상에 대한 표현은 시간을 매개로 하는 비디오 매체로 확장되었다. 1990년대 탈모던, 포스트 모니더즘 논의가 한창일 때 그는 전쟁에 무방비로 노출된 문명 비판적 작업에 몰두했다. 임영길은 과학기술의 그늘진 이면을 표현하기 위해 석판화를 선택했고, 전쟁의 잔재, 지뢰, 살상무기, 군사물 찌꺼기 등 인간을 위협하는 요소를 박제하듯 찍어냈다. 임영길 작품의 주요 개념은 ‘형상성’과 ‘시간성’이다. 이 형상성과 시간의 문제는 개인 내면적 체험에서 사회적 문제로 점차 전이되었다. 또한 기술 발전의 시대상을 담아내면서 판화에서 영상매체로 표현영역을 확장시켰다. 임영길의 ‘시간판화’는 그가 오랫동안 추구해온 형상 연구의 완결지점이라고 할 수 있다. This paper examines “New Figuration”, which emerged in the Korean art scene during the 1980s, and the activities of “Sang(像)81”, an art group formed by young artists overshadowed by major art movements. It also analyzes the founding concept of Sang-81 through the figurative works of Yim Youngkil, a member of the group who incorporated the study of figures into his artistic pursuits. The group ‘Sang(像)-81’ was founded by six artists including Kim Youngsoon, Park Cheolho(Bahc Mo, Bahc Yiso), Shin Wonseob, Yim Youngkil, and Lee Jongwon. It held a total of four exhibitions from 1981 and 1983, amid controversies over new figures that followed hyperrealism. Their key activities revolved around the study of figures, exploring the subtle boundary between representation and abstraction. They distanced themselves from representational and hyperrealistic styles that preceded abstract art, as well as from Minjung Art, which exposed the absurdity of social reality. The members of Sang-81 quietly explored the ‘new figuration’ that was the newly emerging trend in the the art world of the time. They refused both abstract expression and faithful representation of reality; rather, they restored inner experiences like imagination and memory to the realm of time and space. In short, they pursued the kind of figuration that was rooted in personal experiences. Even after Sang-81’s disbandment, Yim Youngkil continued to title his works IMAGE until the early 1990s. The exploration of figures remained his main artistic goal. The group members often divided their canvases or filled them with geometric lines. Early in his figure research, Yim Youngkil too constructed his subjects into geometric figures using spray textures. During this period, prints were a suitable medium to portray humans de-individualized by industrialization. His exploration of figures underwent a significant shift in 1992 after his time in New York. He gradually abandoned IMAGE as the title for his works, and adopted video as the medium for representing moving subjects. In the 1990s, amidst fervent debates on post-modernism, Yim Youngkil immersed himself in artworks that criticized the vulnerability of civilization during war. He chose lithography to portray the dark sides of science and technology, creating images that captured threats to humanity like landmines, lethal weapons, and military waste. The key concepts in Yim Youngkil’s art are “figure” and “temporality”, which gradually moved from being individual inner experiences to become broader societal problems. In addition, Yim Youngkil went on to expand his artistic approach, from printmaking to video. It is fair to say that Yim Youngkil’s “Time Prints” represents the culmination of his extensive research into figurative art.

1970~1980년대 신형상 세대의 한국화 - 극사실 경향에서 민중미술까지

이민수 한국근현대미술사학회(구 한국근대미술사학회) 2020 한국근현대미술사학 Vol.39 No.-

After the mid-1970s, a new atmosphere was created in the Korean art world by the formation of a unique figurative art. This stream is represented by the so-called Hyperrealism, which was mainly spread out through consecutively held large-scale private sponsored exhibitions such as The Grand Art Exhibition of Korea, Donga Art Festival, and Joongang Fine Arts Prize. These exhibitions all claimed to support ‘originality’ and ‘figuration.’ To begin with, they carry repellent meanings toward Informel, Dansekhwa, and other abstractive tendencies. These events were also called as ‘new figuration’ to be distinguished from existing and unchanging conceptions spread by The National Art Exhibition of The Republic of Korea. I highlight that the emphasis on this ‘new figuration’ brought great differences to trends in Hangukhwa (Korean painting). Artists who sought for their direction to modern Hangukhwas from traditional paintings were awarded not only in private exhibitions, but also in The Grand Art Exhibition of The Republic of Korea by submitting numerous hyper-real Hangukhwas. The combination of Hyperrealism and Hangukhwa seems incompatible in an instant, then what does this fusion mean? Such phenomenon cannot be interpreted solely by focused discourses on the existing combination of ink wash painting and abstraction. Therefore, this study retraces Hangukwha with the flow of ‘figuration’. In other words, it will compare and contrast how figure is expressed in traditional and modern Hangukhwas. This examination should be started from the hyper-real Hangukhwas. By this, the study analyzes and understands Real-Scenery Landscapes and urban landscapes in the 1970s, the ink painting movement in the early 1980s, and Hangukhwa affiliated with Minjung Art in the context of art of the same period. 1970년대 중반 이후부터 우리 미술계에는 독특한 구상(具象)(figurative) 미술이 하나의 기류를 형성했다. 이른바 극사실주의로 대표되는 이 흐름은 당시 잇달아 개막한 《한국미술대상전》, 《동아미술제》, 《중앙미술대전》과 같은 대규모 민간 주최 공모전(이하 민전)을 통해 주로 전개되었다. 이들 민전이 표방한 것은 ‘새로움(New)’과 ‘형상성(Figuration)’이다. 여기에는 우선, 1960년대와 70년대 전반까지의 앵포르멜, 단색화와 같은 추상 경향에 대한 반발의 의미가 깔려 있었다. 또한 기존 《대한민국미술전람회》에서 만연한 구태의연한 구상과 구별하기 위해 ‘새로운 형상’으로 지칭되었다. 필자가 주목하는 것은 이 ‘새로운 형상성’의 강조가 당시 한국화의 경향 변화에도 많은 영향을 미쳤다는 점이다. 전통회화에서 현대 한국화로의 방향을 모색하던 화가들은 민전뿐만 아니라 《대한민국미술대전》에 극사실 경향 한국화 작품들을 대거 출품해 입상했다. 언뜻 봐도 어울리지 않는 듯한 극사실기법과 한국화의 결합은 무엇을 의미하는가? 이 같은 현상은 기존의 수묵과 추상의 관계에 집중된 논의를 통해서는 결코 설명될 수 없다. 따라서 본 논문에서는 ‘형상성’의 흐름으로 한국화를 다시 기술한다. 즉 전통회화에서의 형상 표현과 현대 한국화에서의 그것이 갖는 공통점과 차이를 극사실 경향 한국화를 기점으로 살펴본다. 이를 통해 1970년대 실경산수화와 도시풍경화, 이후 1980년대 전반기의 수묵화운동, 그리고 민중미술 계열 한국화를 동시대 미술의 문맥에서 분석하고 파악한다.

신소설 속 여성인물의 정신질환 연구 -화병(火病)을 중심으로-

박성호 고려대학교 한국언어문화학술확산연구소 2020 Journal of Korean Culture Vol.49 No.-

Mental disorder, or psychiatric disorder appeared frequently in ‘Sinsoseol’(New Novel). Especially, ‘Hwabyung’ is the most common mental disorder in those novels. Either directly presented as ‘Simhwabyung’, ‘Ulhwabyung’ or indirectly described by its symptoms and mechanism, it had been shown in many New Novels. In those works, patients of ‘Hwabyung’ is almost married-women figures, who could not escape from home, unlike men and unmerried-women figures who could escape by studying abroad or travel. Futhermore, these merried-women figures who had been threatened with kidnapping, rape, intrigue by other malefactors, could have not dealt with these menaces actively. Consequently, distresses of these women figures had been on the rise, and had caused ‘Hwabyung’ by accumulated wrath, or ‘Ulhwa’. By the way, these ‘Hwabyung’ in New Novels is not a punishment for depravities of women figures, but a token for sticking with positive values by patience. Healing from ‘Hwabyung’, Likewise characteristics of this disorder, is not come true by medical treatment or penitence of patients, but with settlement of contradiction in novels that had caused distresses for women figures. Therefore, ‘Hwabyung’ in New Novles, unlike the other disorders and diseases, is a credit for positive values emphasized in New Novels such as fidelity for spouse. And the characteristics of ‘Hwabyung’ that accompany mental and physical disorder is linked with discourses of diseases in modern novels, especially 1920s and 1930s, which had emphasized two disorders – nervous breakdown and tuberculosis. 신소설에는 정신질환이 높은 빈도로 등장한다. 그 중에서도 가장 많이 발견되는 것은 화병이다. 신소설에서 화병은 ‘심화병’, ‘울화병’ 등 직접적으로 병명이 거론되든, 혹은 증상이나 기전 서술을 통해 간접적으로 거론되든 다양한 작품에서 발견된다. 신소설에서 화병은 주로 기혼 여성이 얻는 것으로 서술되는데, 이는 작중에서 이들 인물이 직면하는 상황과도 관계가 깊다. 유학이나 여행 등 가정을 떠난다는 선택이 가능한 남성 또는 미혼여성과는 달리, 기혼의 여성인물은 가정으로부터 쉽게 벗어날 수 없다. 가정을 고수하는 과정에서 납치, 강간, 음해 등 다양한 고난에 직면하게 되나, 이러한 고난을 적극적으로 해결할 수 있는 입장도 아니다. 고난의 점증으로 인한 울화로 화병을 얻게 된다는 것이 신소설의 여성인물에게 보이는 전형적인 서사다. 그런데 이런 화병은 여성인물의 부정적 행위에 대한 징벌이 아니라, 고난을 인내하여 긍정적 가치를 고수한 데 대한 징표로서 나타나게 된다. 화병에 대한 치유 역시 의료 행위나 인물 자신의 회개, 반성 등을 통해서 얻어지는 게 아니라 고난의 원인이 되는 외부 세계의 모순이 해소되는 것으로 실현된다. 따라서 신소설에서의 화병은 여타의 병이나 일반적인 광기와는 달리 정절과 같은 신소설이 긍정하는 가치를 대변하는 질환으로 의미화된다는 데 특징이 있다. 또한 신체화 증상이 동반되는 화병의 특성은 이후 신경쇠약과 결핵으로 대변되는 문학 내에서의 질병 담론에도 일정한 영향을 끼쳤으리라고 생각한다.

신유물론적 회절과 생성을 통한 다섯 교사들의 생태전환교육과정 이야기

엄수정,황순예,문민지,우라미,이은혜 한국교육인류학회 2023 교육인류학연구 Vol.26 No.4

This research attends to how the Inquiry Community of String Figures—consisting of five curricular scholars and five in-service teachers—(re)configures ecological transition curriculum based on post-humanist new materialism. We, scholars-teachers, engaged in the inquiry in a non-centralistic, relational way by attending to our encounters, entanglements, diffractions, and differences and by creating paths responding to them. Through the experiment, teachers-scholars diffracted through encountering and conversing together and created together-apart stories of thinking and practicing of ecological transition curriculum. The stories express how teachers were attempting to re-imagine the existing system, create string figures with various agents while enacting tentacles of thoughts and (re)sensing the marks on one’s bodies, dance with the earth, and create curriculum in ways to embrace the already entangled world. We provide suggestions for other teachers interested in creating and practicing ecological transition curriculum: 1) imagine beyond gardening activities, 2) attend to various agents participating in educational activities, 3) remember that it is okay to begin in the middle and take a detour, 4) participate in creating curriculum by imagining, experimenting, and attuning, 5) make space and time from which newness can emerge, 6) take constraints as conditions for new teaching and learning, and 7) sense the affective power of the arts.

한국 현대조각 연구사

김이순(金伊順) 한국미술연구소 2020 美術史論壇 Vol.- No.50

This paper studies history of the research on Korean sculpture after the liberation. In the same manner of analyzing modern art as before and contemporary art as after the liberation in Korean modern and contemporary art history, this paper studies Korean sculpture after the liberation. In fact, a significant development in sculptural works has occurred then. In 1925, when Kim Bok-jin graduated from Tokyo Fine Arts School in sculpture and was actively working as a sculptor, his sculpture began to develop completely different from the traditional one. Instead of functional ones such as Buddhist or tomb sculptures, sculpture as fine art began to emerge as a new genre in Korean art history. In Korean modern days, not only were there just a few sculptors, their works were mostly based on methods such as carving or modeling realistic figures. Therefore, studies on Korean modern sculpture do not exist abundantly. After the liberation, abstract sculpture as well as newly approached sculpture with various methods and materials began to rise. However, a spectrum of contemporary sculpture became very broad that it was difficult to even categorize sculpture as one genre. After three-dimension was developed, its term has been used along with the term sculpture. Also, anti-sculpture became apparent as dimensions being involved and materials becoming diverse, and yet it came to have inseparable relationship with installation art. Although, a boundary between genres became obscure, this paper analyzes various studies on sculpture within art genre in Korean contemporary art history. Studies of Korean contemporary sculpture can be classified into before and after the 1990’s while studies before the 1990’s were largely based upon its overview and the secondary element of studies in painting. In 1990’s, scholars of sculpture began to emerge, and studies on characteristics of Korean contemporary sculpture started to expand deeply. Furthermore, objectives and perspectives on research came to accumulate little by little in various ways. This paper seeks the aspects of this phenomenon in detail, and the discussion is organized as follows: first, it overviews the development of Korean contemporary sculpture, and analyzes the studies that achieved concept and terminologies of sculpture. Then it examines into two subject matters, sculpture as fine art and sculpture as public art. The subject of discussion is based on research papers, academic journals, scholarly articles from anthology, and writings from the exhibition catalogue from the National Museum of Modern and Contemporary Art covering Korean sculpture after the liberation. The ultimate purpose of this study is to exceed discussions which have been primarily in painting, and to examine Korean contemporary art history in equitable perspectives.

신사실파의 추상개념: 기하추사의 주체적 재인식

박장민 미술사학연구회 2012 美術史學報 Vol.- No.38

본 논문은 신사실파(1947-1953)에서 나타난 추상개념을 서구 기하추상의 주체적 재인식이라는 맥락에서 조망하면서, 창립회원들의 추상이 서구 추상의 문맥에서 이탈하여 자기화한 추상을 지향하였음을 규명하고자 한 연구이다. 신사실파는 해방공간에서 소수의 회원이지만 순수한 조형이념인 ‘신사실’을 표방하는 미술집단으로서 출발하였다. 신사실파는 1948년 창립전을 시작으로 혹독한 한국전쟁기에도 3회전을 가짐으로써 조형성을 우위에 둔 미술집단의 명맥을 유지했다. 그런데 신사실파는 추상작가들로 이루어진 미술집단에서 점차 구상작가들과 공존하는 복합적인 모습으로 변해갔기 때문에 이와 같은 추상과 구상의 양립은 신사실파의 특이점이라고 할 수 있다. 이렇듯 신사실로 전개한 창립회원들의 추상이 구상경향의 회원들에게 공감할 수 있는 새로운 조형의식을 제공했다는 사실은 신사실파가 기존 미술과는 다른 새로운 형식의 미술을 모색한 실험적인 미술집단이었음을 시사한다. 신사실파 창립회원들은 현실의 본질적인 특성을 추구하고 미술의 비공리성을 지지하였는데 이는 이들이 습득한 추상개념을 근간으로 한 것이다. 창립회원들은 1930-1940년대 초에 일본에서 유학을 하였고 전위미술 그룹전인 《자유미술가협회전》(1937-44)에 참여하여 두각을 나타내었다. 이 시기에 창립회원들이 수용한 추상개념은 미술의 자율성을 수호하기 위해 결집한 서구 기하추상 운동에 영향을 받았다. 이를 통해 이들은 기하추상을 다양한 추상경향의 집합으로서 자유를 상징하는 자율적인 형식을 지닌 미술로 인식하였다. 따라서 이들은 미술의 자율성을 바탕으로 각자만의 독자적인 표현을 중시하는 예술관을 공유하게 되었다. 창립회원들이 전개한 추상개념을 이해함에 있어 연관시킬 수 있는 서구 기하추상 운동은 ‘비구상’을 내세워 추상미술에 관한 다양한 미학적 이론과 실행을 통합한 파리의 ‘추상-창조’ 그룹(1931-36)과 《레알리테 누벨 전람회》를 들 수 있다. 신사실파가 기획되고 창립전을 가진 시기에 개최된《레알리테 누벨 전람회》는 추상-창조 그룹의 이념을 공식적으로 계승한 국제 기하추상 전시였다. 이 전람회의 조형이념인 ‘레알리테 누벨’은 서구 추상미술의 진영에서 통용된 새로운 사실주의로서 미술의 자율성을 옹호하는 중요한 근거였다. 신사실로 전개한 창립회원들의 추상개념은 이러한 동시대의 조형이념과 연계된 것이며 전위의 실천으로서 실험적인 미술 형식에 전념하는 이들의 형식주의적 태도 역시 추상운동과 결부된 서구 모더니스트에게서 찾아볼 수 있는 특징이었다. 새로운 민족미술의 수립을 둘러싼 이념분쟁은 첨예했으나 이를 어떻게 표현할 것인가의 문제에 있어서는 성과가 부진했던 해방공간의 특수한 상황 속에서 신사실파 창립회원들은 추상미술의 전위성을 구체적인 현실과 소통하는 추상을 시도하는 실험정신으로부터 담보하고자 하였다. 즉 이들이 신사실로 선보인 추상은 새롭게 인식한 전통과 자연이라는 경험적인 모더니티를 관념적으로 습득했던 추상형식에 주입함으로써 서구 기하추상의 문맥에서 이탈한 새로운 형태의 추상이었다. 이와 같은 이들의 개방적이고 자유로운 발상은 다른 전위경향의 구상 작가들에게 신사실파로의 참여를 이끌어낼 만큼 상당한 설득력을 얻었다고 여겨진다. 김환기와 유영국의 추상은 해방 이전의 ... This study is an attempt to search the concept of abstraction shared among the founders of ‘New Realism Group’(1947-1953) in the view of new interpretation on the western geometric abstraction in order to clarify that their abstract works are conceived in terms of their own perspectives. The New Realism Group was a small art group which formed by the abstract artists including Kim Whanki, Yoo YoungKuk and Lee KyuSang. After its first show in 1948, the group has survived in holding the third one in Busan,a refuge during the Korean war period in 1953. However, it is interesting that the group kept a foot in both abstract and figurative tendencies, by degrees three additional members, Chang WookJin, Baek YoungSu and Lee JoongSup, joined in addition to the three original members. That would imply that the members tried to explore and do experiment with form of art in searching for a new art for a new society. The founders were concerned with essential properties of reality and had the opinion that art should be cut off from social demand. Their attitudes towards art were based on notions of abstraction they have acquired. From 1930s to the early 1940s, they studied in Japan and participated in the avant-garde group, ‘The Association of Free Artists’(1937-44). At this time,their concept of abstraction was influenced by the western geometric abstraction movement, which formed to dedicate to preservation of the autonomy of art in the face of growing totalitarianism. They identified geometric abstraction in its various forms with freedom from political constraint and the concept of geometric abstraction with the pursuit of autonomy or independence. Therefore, they shared with the attitudes and understandings of abstraction which put emphasis on individual expression in terms of the autonomy of art. To understand their concept of abstraction, it can be said that two important western abstract groups were related the New Realism Group. The first one, the association ‘Abstraction-Création’(1931-36) was formed in Paris, which intended to merge the variety of aesthetic theory and practice on abstraction into non-figuative art. The other is 《Le Salon des Réalités Nouvelles》, officially a successor to the association ‘Abstraction-Création’,which held the international exhibitions showing geometric abstraction in post-war when the New Realism Group was formed and held its first show at the same time. ‘Abstract’ took a new name: Réalités Nouvelles by title of the association. This term of Réalités Nouvelles, the new realism, was in common word in the Abstract camps. It became the base of art’s autonomy. Indeed, their concept of abstraction represented ‘New Realism’ was linked to these concepts of geometric abstraction. And also they had two of formalistic characteristics which were a preoccupation with form and a stress on art’s autonomy from other concerns of social life. These characteristics are seen by modernists in abstract art movement. While diversified understandings of a new national art led to the sharp ideological conflict, but the way to express these understandings was lacked. At this time the founders attempted to embody abstract art from practice of the avant-garde linked with actual life. Indeed, merging tradition and nature newly realized as experiential modernities into form of abstraction they suggested a new interpretation on abstraction differing from the western geometric abstraction. However Kim Whanki and Yoo YoungKuk’s the abstract works were different from those under a strong influence of the western geometric abstraction in 1930s and the early 1940s. But they still refused the representation of realism and social role of art, and did experiment with the study of form independent from political constraint. At the same time, they rejected the purity of abstraction and regarded tradition and nature as new painterly modernity. Therefore, their new interpretation on abstracti...

연구논문 : 패션 일러스트레이션에 나타난 New Painting 특성

김순자 ( Soon Ja Kim ) 한국의류산업학회 2013 한국의류산업학회지 Vol.14 No.6

The purpose of this study is to examine the characteristics of expression and their effects of New painting in fashion illustration since 1990s. This study is focused on searching for the development in expressional techniques of the fashion illustration on the basis of various techniques of New painting. New painting as a trend of new expressionism in America was developed in opposition to the minimalism in the 1980s when the discussion of the post-modernism was most widely. The artists of New painting attempted to resurrect figure through the representation of figure and concrete image, rich in color and strong in image. They also expressed the realistic scene of life with the various kind of medium, materials and styles and appropriation of image from mass media and popular culture. The representation of fashion figure and image through the various kind of painting medium, techniques and styles can express the realistic and sensitive image and increase the communication ability in fashion illustration. It could also deliver the fashion message more clearly through the appropriation of image. These findings indicate that fashion illustrations accept variety by interacting with fine arts and expand the scope of expression.

패션 일러스트레이션에 나타난 New Painting 특성

김순자 한국의류산업학회 2012 한국의류산업학회지 Vol.14 No.6

The purpose of this study is to examine the characteristics of expression and their effects of New painting in fashion illustration since 1990s. This study is focused on searching for the development in expressional techniques of the fashion illustration on the basis of various techniques of New painting. New painting as a trend of new expressionism in America was developed in opposition to the minimalism in the 1980s when the discussion of the post-modernism was most widely. The artists of New painting attempted to resurrect figure through the representation of figure and concrete image, rich in color and strong in image. They also expressed the realistic scene of life with the various kind of medium,materials and styles and appropriation of image from mass media and popular culture. The representation of fashion figure and image through the various kind of painting medium, techniques and styles can express the realistic and sensitive image and increase the communication ability in fashion illustration. It could also deliver the fashion message more clearly through the appropriation of image. These findings indicate that fashion illustrations accept variety by interacting with fine arts and expand the scope of expression.

신시기 상하이영화와 여성형상 ― 동화와 할리우드의 영향을 중심으로

곽수경 한국중국현대문학학회 2008 中國現代文學 Vol.0 No.45

As the market economy grew in intensity after the New ERA, Shanghai films claimed to stand for commercial line, and it had the systems could come to mutual understanding with fairy tales and Hollywood films. And woman became a good material for take cinema audiences into theater, woman's sexuality was emphasized and became object and otherness. This study has analyzed the women's figuration of Shanghai films that named Suzhou Riverand A Beautiful New World forced on the influence of fairy tales and Hollywood films. Overall, the women's figuration of Suzhou River and A Beautiful New World emphasized their childish characteristics and sexuality, the elements of fairy tales and Hollywood films properly harmonized with each other. They brought woman into relief as inferior existence through comparison of both sexes and emphasized women's passivity and dependence, hereby they justified men's control and sexual objectification to women, and defended a male-dominated ideology. So we could be aware that the influence of fairy tales and Hollywood films played an decisive role in fixed the relationship between both sexes and enhanced a male-dominated ideology, and those are represented in Shanghai films in New ERA, too. But they changed unrealistic fantasy of fairy tales and Hollywood films into feasible realistic fantasy like A Beautiful New World or chose the different end with fairy tale like Suzhou River, they reinterpreted them by Chinese reality and reflected convincingly Chinese reality

‘한국 리얼리즘’의 가능성 연구: 신형상 미술에서 제기되는 리얼리티의 양식화 문제

김영호 동국대학교 동서사상연구소 2015 철학·사상·문화 Vol.0 No.19

Since the mid-1970s, a new genre of fine art has emerged; it was called figurative art. The purpose of this study is to review, in the context of realism, the possibility of the figurative art settled as a genre reflecting the phenomena of our time beyond a collective art trend. As is well known, 'realism' in the visual art has been defined as 'an attitude and means of art attempting to represent and describe the objective reality as it is.' The disputes surrounding the realism have unfolded through the discourse about the concept of 'reality' and the means of its expression, while having always been centered on philosophical concepts such as 'real,' 'being,' 'fact,' 'truth,' 'essence,' 'actuality' etc. In the case of fine art, a critical realism emerged in France in the 19th century; it aimed at 'expressing the history and reality in a true and objective way. Since then, realism has mutated into, or branched off, Socialism Realism, Surrealism, Nouveau Realisme, Hyper-realism, Photo-realism, Realisme Fantastique, and the like. At last, the theories of hyper-reality and simulation put forwarded by Jean Baudrillard in the early 1980s demolished the concepts and interpretations about the conventional actuality and images fundamentally, upholding the ecosystem of the realism art to a dimension quite different from before. Thus, if the nature of art could be defined as incessant meditative activities for the changing reality and being, it can hardly be doubted that the theme 'what is realism' would continue to be discussed. The reason why a new potential of realism should be discussed is that we believe realism would be suggested as an alternative for our future in today's reality when definitions and the order of modernity are being overcome anew in our Korean art history. Such efforts are in line with the new discourse about realism among the art critics in Asia. A new possibility of realism may be found in the belief that the concept of reality can be accommodated in a more expanded system of aesthetics. 이 논문은 1970년대 중반 이후 등장한 새로운 형상미술이 하나의 집단적 경향 차원을 넘어 시대상을 반영하는 양식으로의 정착 가능성을 리얼리즘의 문맥에서 고찰하려는 것이다. 주지하듯 시각예술의 영역에서 리얼리즘이란 ‘객관적 현실을 가능한 한 충실하게 재현·묘사하려는 태도와 창작방식’으로 정의되어 왔다. 리얼리즘에 대한 논쟁은 ‘리얼리티’의 개념과 그 표상방식을 둘러싼 담론을 거치며 진행되었고 리얼리티 논쟁의 중심에는 언제나 실재(real), 존재(being), 사실(fact), 진실(truth), 본질(essence), 현실(actuality)과 같은 철학적 개념들이 혼재되어 있었다. 미술의 경우 19세기 프랑스에서 등장한 비판적 리얼리즘이 ‘시대와 현실을 진실하고 객관적으로 표현하는 것’을 목적으로 삼으며 하나의 미술양식으로 출발한 이래, 사회주의 리얼리즘, 쉬르 레알리즘, 누보 레알리즘, 하이퍼 리얼리즘, 포토 리얼리즘, 레알리즘 판타스틱 등으로 변태와 분화를 계속해 왔다. 급기야 1980년대 초, 장 보드리야르가 내놓은 하이퍼리얼리티와 시뮬라시옹 이론은 기존의 실재와 이미지를 둘러싼 개념과 해석방식을 근본적으로 해체시키면서 리얼리즘 미술의 생태계를 전과 다른 차원으로 옮겨놓고 있다. 이렇듯 예술의 본성이 변화하는 현실과 존재에 대한 끊임없는 성찰의 활동이라 정의할 수 있다면 리얼리즘 논의는 앞으로도 지속가능한 주제라는 것은 의심의 여지가 없을 것이다. 리얼리즘의 새로운 가능성 연구가 필요한 이유는 한국미술에서 근대에 대한 정의와 질서가 새롭게 극복되기 시작하는 오늘의 현실에서 미래를 위한 대안의 하나로 제시될 수 있다고 여겨지기 때문이다. 이러한 노력은 최근 아시아 지역의 평론가 사이에서 제기되고 있는 새로운 리얼리즘 담론과도 맥을 같이하고 있다. 리얼리즘 양식의 새로운 가능성은 리얼리티의 개념이 보다 확장된 미학체계에 수용될 수 있다는 신념에서 발견될 수 있을 것이다.