한국 근대의 기하학적 추상 디자인과 추상미술 담론: 1920-30년대의 잡지 표지 디자인을 중심으로

서유리 미술사학연구회 2010 美術史學報 Vol.- No.35

This paper researched and analyzed the geometric abstract cover design of Korean Modern magazines in 1920-30s. These designs are worthy of notice because in the history of Korean modern art there are a few abstract paintings including geometric ones. This paper surveyed geometric abstract cover design of five kinds of modern magazines-<Siningan(New Human)>, <Sidae gongron(Public Discourse of Times)>, <Haebang(Liberation)>, <Jaeilsun(The First Line)>, <Singyedan(New Stair)>, <Sinsegi(New Century)> which were published from late 1920s to middle 1930s. These geometric abstract cover designs represented a new vision for upcoming modern age and their will to construct the modern society of a new culture. Magazines' titles mean new human, new century, new stair of future, the first line forwards new culture. These geometric cover designs were introduced and disseminated through several ways. Designer such as An Sukju who studied in the early 1920s of Japan composed some new types of abstract cover. Lee Soonsuk learned his Bauhaus style abstract design in Tokyo Art School and had a welcome-home show including several book cover designs of geometric abstract. Kim Gyutaek, a cartoonist and illustrator designed most covers of <Jaeilsun>, which were similar to Japanese commercial graphic design. Some Korean designers and students could read <Gendai shogyo bijutsui zenshu(The Complete Commercial Artist)>, a twenty-four volume illustrated compendium of commercial design published in Japan, which was owned by Gyonsung Commercial High School library. Magazines published in Japan like <Genchiku sekai(World of Construction)> flowed to colony Chosun and these magazines gave a chance to see new geometric abstract designs. Geometric abstract images, a sign of modernism, visible on magazines covers could not be seen on the painting canvas of same period. In the champ of art discourse, a hegemony was in the mouths of nationalists and socialists and the modernism painting was criticized as art decadent. In the late 1930s, some new artists who took a avant-garde attitude and learned geometric abstract painting in Japan asserted that Korean art scene must accept their abstract paintings. But the geometric abstract painting was rejected by a conservative painter O Ziho and criticised by a aesthetician and Gyongsung university professor Go Yusup, a socialist writer Im Wha and other intellectuals, whose critics influenced the young avant-garde artists. The artists compromised their abstract. Therefore a sign of nationality and traditionality or morality and spirituality such as a white porcelain, a cow and a mountain appeared in their painting afterward. This eclecticism met a need of times. The times of colonized nation made the intellectuals not be able to accept modernism, a symbol of capitalism of empire, commodities of colonial commerce, without a compensation of ethics. But the magazine cover area was free from this claim for ethics because their position in hierarchy of images was low. Abstract image was on the border line between high art and low commercial design.

이승조의 ‘실재와 비실재’의 추상회화 연구

최정주 한국조형교육학회 2016 造形敎育 Vol.0 No.60

This study aims to shed light on the world of Lee Seung-jio’s art which is credited as a new epitome of geometric abstract art in the contemporary Korean art scene from the restorationist perspective of aesthetics, thereby reestablishing the status of the artist who dedicated himself to the multidimensional advancement of Korean art. From this point of view his art can be largely defined as “abstract painting embracing the boundaries between reality and unreality.” Since the early 1990s Lee Seung-jio (1941-1990) had suggested a new alternative to the uniform development of Korean art with Nucleus, a serialized work reminiscent of pipes with which he created his own distinctive modeling idioms. With this he presented a new abstract painting style through tireless explorations and alterations in the spirit of the times that was sought after by society and art predicated upon visible objects and invisible notions. He led the formation and activities of representative organizations such as Origin which claimed to return to the nature of art by escaping from the old conventions of the art community; the Korean Young Artists Association Exhibition and the Korean Avant-Garde Association (referred to as AG) which acted as forums for experimental art; and Ecole de Seoul, Independant, and the Seoul Contemporary Art Exhibition which were the main stages for dansaekhwa or monochrome painting. New stimuli allowed him to delve deeply into avant-garde artistic practices without settling into the conventional aspects of the established art scene as he completed his own distinctive works of art that integrated Western art’s fundamental formative elements with Eastern art’s spiritual depth. So far Lee has been thought of as one of the forerunners of Op art and a progenitor of Korean geometric abstract art but this evaluation has been made in a rather vague, biased sense. Lee clarified his own artistic principles in self-restorationistic logic, seeking the nature of art and making his artistic achievements freestanding in Korean art history. His artistic status has to be reconsidered in respect to how he created a new tradition of geometric abstract painting and broadened the horizon of contemporary Korean abstract art by forming a range of formal logics through a fusion of Eastern and Western art. 본 연구는 한국현대미술의 흐름에서 기하학적 추상회화의 새로운 전형을 구축한 것으로 평가 되어온 이승조(李承祚, 1941.3.18.-1990.7.27.)의 작품세계를 ‘실재와 비실재의 경계를 아우르는 추상회화’라는 독자적인 미학의 세계로서 규정하고, 이에 대한 심층적인 조망을 통해 한국현 대미술의 다면적 발전에 기여한 작가의 위상을 재정립하기 위한 것이다. 이승조는 1960년대 초기부터 ‘파이프 통’을 연상시키는 독자적인 조형성을 구축한 <핵(核, Nucleus)> 연작을 통해 한국미술계의 획일적 전개 방향에 새로운 대안을 제시하고, 그것을 사회와 예술이 지향하는 시대정신의 흐름 속에서 끊임없는 모색과 변화를 거쳐 가시적 대상과 비가시적 개념을 관통하는 새로운 추상회화를 제시했다고 하겠다. 특히, 그는 기성미술계의 구태로부터 벗어나 예술 본질로의 환원을 주창했던 ≪오리진≫을 비롯하여 실험적 창작 행위의 장이었던 ≪한국청년작가연립전≫, ≪한국아방가르드협회(AG)≫ 와 단색조 미술 현상의 주요 무대였던 ≪에꼴 드 서울≫, ≪앙데팡당≫, ≪서울현대미술제≫ 등에 이르기까지 한국현대미술의 태동과 형성을 이끌었던 대표적인 단체의 결성과 활동을 주도했다. 이러한 활동 속에서 기존미술계의 주류 현상에 안주하지 않고 새로운 자극을 통한 전위적 행보에 천착했고, 서양 예술의 조형적 기본 요소와 동양 예술의 정신성의 구현이라는 이원적 예술 원리를 하나의 환원적 질서 속에 융합하여 개성적인 예술세계를 완성해 나갔다. 이승조는 그동안 ‘옵아트 계열의 선구적 작가’, ‘기하학적 추상회화의 선구자’ 등으로 평가되 어왔으나 이는 그의 회화 세계 전모에 대한 조망 속에서 이루어진 것이라기보다는 1960년대 말의 기하학적 추상회화의 조형적 실험기에 집중된 협의의 관점에서 논의되어 온 것이라 하겠다. 또한 그가 단색조 미술 현상의 태동과 형성을 함께 일구어나갔던 주요 작가였음에도 불구하고, 이에 대해서는 집단의 흐름 속에서만 논의되어 왔기에 그의 작품 속에 내재된 동양 고유의 정신성으로의 회귀에 대한 관점과 그 양식적 특이성에 대한 진면목은 간과되어 왔다고 하겠다. 본 연구는 그러한 대의적 평가 속에서도 동서양의 예술의 원리와 미학을 적극적으로 수용 하고 실험하여 원류적 미술의 특성을 변용한 독자적인 회화양식을 구축하는 한편, 동서양 예술이 추구하는 ‘모든 근원적이고 본질적인 것의 회화적 구현’을 위해 환원적 예술의 미학을 형성하고 확장해 나간 이승조의 회화세계의 특성을 아울러 살펴보고자 한다. 또한 이를 통해 자신만의 독자적인 조형세계와 추상미학을 형성했던 이승조의 예술세계의 실체를 파악하여 한국현대 추상미술의 지평을 넓혀 나간 점에서 그의 위상을 재고하고자 한다.

김종삼 시에 나타난 추상미술의 영향

박민규 ( Min Kyu Park ) 민족어문학회 2009 어문논집 Vol.- No.59

지금까지 선행 연구들은 김종삼의 시세계가 음악적 상상력에 많이 빚졌음을 밝혀왔다. 하지만 그가 `예술가`의 자의식 속에서 인접예술에 상당한 관심을 기울였음을 감안할 때, 미술에서도 영향을 받았으리란 추정이 가능하다. 특히 그가 「앙포르멜」을 썼으며 이 시에 애착을 가졌다는 사실은 1957년에서 60년대 후반까지 한국 화단을 지배한 추상미술 운동이었던 앵포르멜과의 연관성을 유추하게 한다. 한국의 앵포르멜은 유럽의 것을 수용하면서 촉발되었다. 유럽의 앵포르멜은 선행했던 전전(戰前)의 기하학적 추상과 변별되는 조형론을 추구한 이차대전 후의 추상미술 운동이었다. 한국의 앵포르멜은, 그러나 6·25 직후의 척박한 문화 환경 탓에, 프랑스 앵포르멜에서 `부정`과 `혁신`의 시대정신 정도를 취한 면이 다분히 컸다. 즉 한국의 그것은 추상미술 내의 어떤 사조에 대한 특정적 탐구였기보다는, 기성 미학의 거부와 새로운 미의 창출이라는 미적 태도 속에서 국전(國展)풍의 구상미술 관행을 추상미술을 통해 쇄신하려 한 움직임이었다. 따라서 한국의 화가들은 유럽 앵포르멜만의 특수한 추상조형이념에 일천했을지 모르지만, 미적 제도성의 혁신을 주장할 정도로 구질서의 구상미술과 대결하는 데 필요한 넓은 개념의 추상미술에 대해 알고 있었다. 당대 한국 화단의 이 같은 동향을 파악해온 김종삼 또한 사정은 마찬가지였다. 시 「앙포르멜」을 썼다고 해서 그가 기존의 추상미술과 달라진 특정 사조로서의 유럽적 앵포르멜을 숙지했으리라 보긴 어렵다. 그러나 당대 한국 화가들과 교감했단 점에서 그 또한 넓은 의미의 추상회화론을 알고 있었으며, 이를 시작법에 활용하고 있었다. 그의 시들에서 발견되는 대상의 과감한 생략과 요약, 정신성이 투영된 색채와 색면의 구사, 원근법의 배제, 비재현적·비지시적·비모방적 표현 등은 추상미술의 조형이념을 수용한 결과였다. 한 폭의 추상화 같은 그의 시들은 구체적 형상들이 사라진 빈 공간의 전체를 단일한 색으로 칠한 `색면추상화` 같은 세계를 선보였거나, `수직-수평`의 선 혹은 면으로 공간을 분할한 `기하학적 추상`의 속성을 나타내기도 했다. This article has a purpose to analyze that Kim Jong-sam`s poetry adopted techniques and formative theory of Abstract Painting. Until now, his poetry have been many discussed in connection with the impact of music. But he showed many interests in other arts, and interchanged well with the South Korean painters. In those days, the Abstract Expressionism(Informel) has come into fashion in the South Korean young painters from 1957 to the late 1960`s. The South Korea`s Informel movement received the European Informel, but took the spirit of the times of it rather than the formative theory of European Informel. The spirit of the times was a volition to deny the ready-made aesthetic norm and to create the new aesthetic, and it brought about the Abstract Painting movement in `wide concept`. Kim Jong-sam interchanged with the South Korean Informel`s young painters, so his poetry have showed the influence of Abstract Painting. According to text analysis, his poetry had the daring omission and condensation of forms, the attempt of color and color-field to express sound of the soul, the exclusion of perspective, the pursuit of non-reappeared or non-imitative expression. In this way, his poetry were similar to an abstract painting. His poetry showed the world of `the Color Field Painting` because he had painted the whole of empty poetic space by single color, and also showed the feature of `Geometrical Abstraction` which had divided the poetic space by line or field of `vertical-horizontal`.

이승조의 <핵(核)> 연작 - 한국적 모더니즘의 또 다른 가능성

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

Lee Seungjio is well known for his <Nucleus> series — paintings comprised of various cylindrical forms resembling pipes. Throughout his lifetime, Lee devoted himself to these distinctively clear, rational and deliberate abstract pieces. Existing analyses of Lee Seungjio’s paintings often view the pipe-like forms in the <Nucleus> series as symbols of modernization unfolding in Korea at the time, and regard his work as a model example of Korean geometric abstract art. Additionally, some have associated the changes since the 1970s in Lee’s paintings with the conceptual art of group “AG” or Lee’s interest in phenomenology. In other analyses, Seungjio has been touted as one of the founding fathers of monochrome abstract art in Korea. However, in these previous studies, it is difficult to find detailed explanation regarding what exact features of the <Nucleus> series made it different from other geometric abstract art at the time — or what exactly Korean op art even was. Is there really no way of recognizing the significance of Lee Seungjio’s art, without referencing his core artistic features to specific organizations or art styles? This paper began from the above question. This paper aims to achieve two things: first, to regard Lee’s paintings as a visual indicator existing within the societal/cultural and political/economic climate of the time; second, to propose a new way to understand not only Lee’s art but also the history of Korean geometrical abstract art since the 1960s. This paper finds that Lee’s <Nucleus> series was born from the intersection of 《National Art Exhibition of The Republic of Korea》, avant-garde art group “Origin”, and industrial design — leading the paintings to simultaneously embody the contradicting qualities of avant-garde/ academic, and pure/applied arts. Furthermore, this paper also argues that the <Nucleus> series cannot be understood only in the confines of figurative painting, geometric or monochromatic abstract painting. This paper seeks to overcome the limitations of existing research methods in Korean art history, which has traditionally been rooted on nationalism and evolutionist views. As an alternative, this paper employs a new methodological framework to investigate geometric abstract art and Lee Seungjio’s works. As a result, this study finds that in his styles spanning across the figurative, the abstract, and the hyper-realistic, Lee’s only objective as an artist ultimately lied in the visual issues of paintings. In conclusion, Lee Seungjio’s <Nucleus> series successfully created a complete visual illusion by overcoming the resistance of medium, fulfilling the duty long carried by modernism abstract paintings. From this, we can discover from Lee’s abstract works a new possibility for Korean modernism — one that neither relies on tradition nor spirit. 이승조(李承祚, 1941-1990)는 파이프를 연상시키는 원통 형태를 다양하게 구성한 회화 〈핵(核, Nucleus)〉 연작으로 널리 알려진 작가이다. 작가는 특유의 명징하고, 이지적이며, 계획적인 성격의 추상회화를 평생 고집스럽게 선보여 작고한 뒤엔 “우리 화단에서는 보기 드물게 엄격한 기하학적 추상의 세계를 추구한 화가”, “논리적인 작업의 전통이나 체험이 빈약한 우리의 현대미술 속에서 더없이 이채로운 존재”라는 찬사를 받았다. 이승조 회화에 관한 기존의 연구들은 대체로 〈핵〉 연작에 나타나는 파이프 형상을 조국 근대화에 주력하던 한국 사회의 시대적 상징물로 바라보면서, 그의 작업을 기하학적 추상회화의 새로운 전형을 구축한 것으로 여기거나, 한국 옵아트의 대표적인 사례로서 간주한다. 또 1970년대 이후 이승조 작품의 변화를 그룹 ‘AG’의 개념미술 및 현상학에의 관심과 연계해 해석하거나, 그를 모노크롬 추상회화의 태동과 형성을 주도한 주요 작가의 반열에 올려놓기도 한다. 그러나 이 연구들에서 정작 이승조의 〈핵〉 연작의 어떤 특징이 당대의 다른 기하학적 추상회화와 구별되는 새로운 전형을 제시했는지, 한국적 옵아트란 과연 어떤 것이었는지에 대한 구체 적이고 상세한 설명은 찾아보기 어렵다. 이승조의 예술세계 전반을 관통하는 핵심적 특징을 특정 활동 단체나 회화 양식의 성격에 기대지 않고 고찰해 그 미술사적 의의를 찾을 방법은 없는 것일까? 이 같은 의문에서 출발한 본 연구는 이승조의 회화를 당대의 사회·문화적, 정치·경제적 맥락 속에 자리하는 시각적 지표로 간주하고, 그의 작품뿐 아니라 1960년대 이후 한국 기하학적 추상회화의 역사 전반에 대한 기존 견해를 교정할 기회를 마련해 보고자 했다. 이로써 한국의 기하학적 추상회화, 옵아트의 시발점이 된 이승조의 〈핵〉 연작이 《국전》, 재야의 전위 단체 ‘오리진’, 산업디자인의 영역이 교차하는 지점에서 탄생했음을, 그리하여 태생적으로 전위미술과 아카데미즘 미술, 순수미술과 응용미술의 속성을 모두 지니고 있었음을 밝혔다. 또 이승조의 〈핵〉 연작을 구상, 기하학적 추상, 모노크롬 추상, 그리고 극사실회화의 어느 한 범주에만 국한해 이해할 수 없음도 피력했다. 본 연구는 이 같은 과정을 통해 순혈주의와 진화론에 기반했던 기존 한국 현대미술사의 기술 방식을 극복하고, 기하학적 추상회화와 이승조 회화를 고찰할수 있는 새로운 미술사 방법론을 모색해 보고자 했다. 그 결과 구상에서 출발해 추상으로, 그리고 다시 극사실에 도달하기까지, 작가 이승조의 목표는 오로지 회화에 서의 시각적 문제의 추구였다는 사실이 밝혀졌다. 이승조의 〈핵〉 연작은 미술사에서 모더니즘 추상회화에 주어졌던 과업, 즉 ‘매체의 저항을 압도해 완벽한 시각적 일루 전을 창출하는’ 일을 완수해냈는데, 이로써 우리는 그의 추상회화에서 전통이나 정신에 기대지 않은 한국적 모더니즘의 또 다른 가능성을 발견할 수 있다.

남계 이규선(南溪 李奎鮮, 1938~2014)의 회화

송희경 ( Song Hee-kyung ) 한양대학교 동아시아문화연구소(구 한양대학교 한국학연구소) 2021 동아시아 문화연구 Vol.84 No.-

남계 이규선(南溪 李奎鮮, 1938~2014)은 한국화 분야에서 독자적인 추상 회화를 창작한 화가다. 그는 서울대학교 미술대학 회화과 학부 시절에 유화를 그리고 국전 서양화부와 동양화부에 모두 출품하는 등, 동양화와 서양화를 가리지 않고 학습하였다. 그러나 1970년 19회 국전부터 동양화부 비구상 부문에만 참여하면서 본격적으로 추상성을 모색하였다. 이 시기 출품작의 특징은 직선의 교차로 생긴 기하학적 면 분할, 두터운 채색과 호분의 사용, 스프레이 기법을 활용한 얼룩의 고안이다. 이렇듯 회장미술에서는 추상 회화로 두각을 나타냈지만, 상업용 그림으로는 소품의 아동 인물화를 다작하기도 하였다. 이규선은 1970년 중, 후반부터 검정색을 위주로 한 화면에 일부 원색을 가미하였고, 부드러운 곡선으로 면의 분할을 시도하였다. 1990년대에는 단순한 흑백의 평면 추상에 더욱 집중하며, 검정색의 붓질이 지나간 자리에서 엿보이는 미묘한 차이를 보여주었다. 2000년대부터 시작된 <시창청공>, <서창청공> 시리즈에서는 실내 창호지 문을 열어 외부 풍경을 바라보는 연출을 시도하였다. 이렇듯 이규선은 전통 회화의 개념, 이론, 서사보다도 사물이나 상황에서 떠오르는 기분이나 이미지를 표현하고자 하였다. 현대 회화로서의 추상성, 동양 회화로서의 수묵과 자연의 모티브, 한국 회화로서의 원색을 조합하여, 이규선 만의 현대성, 동양성, 한국성의 기호를 창출한 것이다. 이것이 이규선이 추구한 추상 회화의 특징이라 할 수 있다. Lee Gyu Sun(李奎鮮, 1938~2014), also known for his art name Namgye(南溪), was a painter who created his own distinctive style of abstract paintings in Korean painting. During his undergraduate degree in painting at Seoul National University College of Fine Arts, he first studied oil painting. He then studied both oriental and western paintings, submitting his works of oriental and western paintings to the relevant departments of the National Art Exhibition of The Republic of Korea. However, since the 19th National Art Exhibition in 1970, participating in the Nonrepresentalism Category of the Department of Oriental Painting only, he began to pursue abstractness in earnest. The entries during this period are known for the features like the geometric area division created by the intersection of straight lines, the use of thick coloring and whitewash, and the design of stains using the spray technique. As such, he stood out for abstract paintings in venue art, but for commercial paintings, he prolifically drew small-sized portraits of children. From the mid-and late 1970s, he added some primary colors to the black base screen and attempted to divide faces with a smooth curve. In the 1990s, he focused more on flat abstraction in black and white, showing a delicate difference derived from traces of black ink brush strokes. In the series of Sichang Cheonggong and Seochang Cheonggong, which began in the 2000s, he attempted an arrangement of the scenery between the opening windows made of Korean traditional paper. Hence, he attempted to express the feelings and inspirations that arise from objects or situations as images rather than focus on the concepts, theories, and narratives of traditional painting. By choosing abstraction in the sense of contemporary painting, ink and nature motifs in that of oriental painting, and primary colors in that of Korean painting, Lee Gyu Sun's unique signs of modernity, orientality, and Koreanness were created. This can be considered the characteristic of abstract painting by Gyu Sun Lee.

로버트 슬러츠키 회화의 건축적 공간구성 변화과정에 관한 연구

임기택(Lim Ki-Taek) 대한건축학회 2010 대한건축학회논문집 Vol.26 No.4

Suprematism paintings, el Lissitzky's Proun series and Neo-platicism paintings are the modern abstract paintings that is related close to architectural modeling part which is beyond the representational painting. It was enormous effect that Modern paintings and modeling activities has been influenced to architectural part. Their Movement was more bloomed after exodus of artists and architects to eastern America escaping the Nazzi's persecusion of Bauhaus. After education, Robert Slutzky had been deeply influenced by Russian Avangarde and Dutch Neo-platicism. With this influenced tradition, he has extended the possibilities of change and modeling of geometric abstract beyond time and tide. The object of this study is to speculate and analyze how Robert Slutzky, as the painter and architecture faculty teacher, has influenced to architectural part in the tradition of Russian Avangarde and frontline of advanced creativity after postmodern period. Considering more detailed part, after 50's that he has educationed, this study focuses on the development of creativity and inspiration with architectural modeling part in the line of continuity of end of 20th century.

기억의 매핑과 중력의 무지개: 토마셀리의 포토콜라주와 스펙테이터의 보기

최정은 미술사학연구회 2014 美術史學報 Vol.- No.43

Tomaselli has been known as a photocollage artist using pharmacoeia as well as flora and fauna. Through his photocollage he has created fascinating worlds, showing us another dimension of pararell worlds. I tried to analyse Tomaselli’s diagramic mapping by means of “Spectatorship”. because the perceptions of our age are necessary mediated. The value of his art does not exist only in his peculiar method, also in the way of reminding us of visuality. Sometimes the effect of his canvas surface is quite similar with cinematic screen. It receives so many particles from outside, and keeps them by repetition and accumulation. It makes totally new picture through particles of photograph. Tomaselli’s photocollage is not just a diagramatic mapping, but figuration of a story at same time. At first sight, his diagrams seem as pure geometrical abstract, but they have always some context, mainly mapping of his personal memories and experiences. In his diagrams, abstract and figure are not clearly distinct. In this way Tomaselli’s diagrams are to be distinguished from optical geometrical abstract painting. It seems that he recognizes the problem of the split between eyes and gaze. He visualize his past memories by means of mapping. The canvas reveals some splits during representational process. The canvas surface become fractured, but it can be recomposed by abstraction. Through the process of linking metonymic absent objects of memory and pictorial elements, he could fill the split between eyes and the gaze with dreams and hallucinations. Collage is a way to conjoin this distinctive reality to inside of canvas. The surfaces and frames of Tomaselli’s paintings has been redoubled in this way. He covered up that void in the spilt with a fantasy. The method of schematical composition of Tomaselli makes us aware that he is dealing with fundamental issue of specularity and visuality. 토마셀리는 포토콜라주 작가로서 꽃과 곤충, 새 등 사진적 파편과 특히 알약 정제를 사용한 것으로 유명하다. 그는 미술사적으로는 환각예술가들에 속하며 중독적 약을 캔버스에 붙임으로서 알려졌지만, 그의 작업의 의의는 단지 약과 혼합 재료의 사용에 있지 않다. 그보다 그는 죽은 것으로 간주되던 회화의 새로운 차원을 보여주었는데, ‘창 너머의 일루전’이라는 전통적 회화의 구조를 스크린과 프레임을 환기하는 방식으로 되살리는 방식에서였다. 토마셀리의 다이어그램적 추상은 포스터가 비판했던 상업화된 옵티컬 아트의 기하학적 추상과 별반 다르지 않아 보이지만, 본 연구에서는 그보다 토마셀리 작업의 의의가 스펙테이터의 시지각을 반영한다는 점에 있다고 보고, 이 보기는 과거의 관람자들이 보는 방식과 다른가? 다르다면 어떻게 다른지 규명을 시도했다. 토마셀리 작업은 스펙테이터의 시지각 작동 과정 자체를 보여주는 측면이 있으며, 시지각 과정 자체가 시네마적 보기를 경유한 방식으로 변화해 왔다는 것을 드러낸다. 본고는 스펙테이터쉽을 특히 토마셀리의 추상적 다이어그램적 작업들과 표면과 프레임의 이중화 문제를 경유하여 분석을 시도했다. 토마셀리의 다이어그램적 작업은 옵티컬 아트의 기하학적 추상과는 달리 기억의 매핑으로서 경험적 실재적 측면을 표상하며 스크린 안에서 대리자 체험을 유도하는 가운데 시지각 과정의 매카니즘을 보임으로써 전자기적 코드 상태로부터 시뮬라크라인 현실태로의 사이 공간에서 일어나는 시각화를 보여준다. 토마셀리는 캔버스 표면에 난 창을 우리 자신의 환상이 투영되는 지각적 스크린으로서 보게 하여 고전회화의 유산을 되살리고, 표면을 재정의하고 파편화된 세계의 잔해로부터 삶을 재구축하는 하나의 방식을 보였다.

현대 한국 서양화 사조 연구

정혜경(Jung Hye-kyung) 한국근현대미술사학회 2015 한국근현대미술사학 Vol.30 No.-

This paper is to concretely identify how Western paintings have unfolded for 30 years of the first period of Korean contemporary painter"s circles. The method is to examine through the National Art Exhibition, the top authority contest exhibit those days, and analyze Western paintings exhibited in the National Art Exhibition. During some 30 years, when the contest exhibit was held, although it was recognized that conservative painting style was presented consistently, the reality was different. The figurative painting style showed three-phase changes, as if it had climbed over mountains. It showed the following three change phases: atmospheric various painting styles in the early period, a painting style enhancing factual density for object reproduction in the middle period, and a folksy, dynamic, and rural painting style in the latter part. Concerning the non-figurative painting style, three schools constituted a big trend successively. The following three abstract painting styles characterized successively heightening periods, according to each temporal characteristics: Informel painting style (10th~16th: early part), geometric abstract painting style (16th-23rd: around 1970), and single color abstract painting style (23rd-30th: latter part of the 1970s). The Informel abstract painting style was a style reflected as a mirror of time in the revolutionary dimension, due to great incidents such as 4.19 Student Revolution, and 5.16 Coup D"etat that broke out to break down old customs. The geometric abstract painting style was a style, in which vibrant hopeful new age emerged as a mirror in the 1970s for the first time in history, thanks to dynamic economic development implementation. The single abstract painting style was a style emerging in the period of seeking Korean style image by time background rapidly growing into an industrial society through more heightening economic development in the state that contemporary Western paintings were accumulated for more than 20 years. The main gist of this paper is that National Art Exhibition was the venue, where each painting style, created on the basis of time change, was sensitively manifested like the mirror of time, and was intertwined with the trajectory of ups and downs in each period.

《대한민국미술전람회》의 추상 아카데미즘

권영진 한국근현대미술사학회(구 한국근대미술사학회) 2018 한국근현대미술사학 Vol.35 No.-

This paper aims to analyze the entries and prize-winning art works of the National Exhibition, and determine the contributions and limitations brought on by the 30-year history of the exhibition on the formation of Korea’s modern art, and what role it played in the development of the Koreans’ perception on enjoyment of art and modern art. A closer look into the entries and award-winning works at the exhibition between 1949 and 1981 reveals that there existed a predominant style of painting of realistic figurative art, which was also called academism, yet on the other hand, a number of half-abstraction and abstract works were forming a clear linage of some sort from the early on. Statistics and studies on the materials of work books of the exhibition have pointed to the conclusion that the abstract style of paintings by non-mainstream artists who challenged a conservative National Exhibition was forming a somewhat similar stream within the exhibition. It seems inappropriate to explain the interior border of the National Exhibition with conflicting ideas such as conservative and avantgarde; mainstream and non-mainstream; and figurative and abstract style. The abstractionism that challenged the realistic style of painting in the National Exhibition was accepted in the exhibition to form academism, and the National Exhibition that accepted the challenge of the unconventional had developed to encompass two different streams at the same time. The post-war Korean National Exhibition, therefore, was not a failed institution, but rather it embraced both conservative academism and avant-garde modernism at the same time, thereby developing an academism peculiar to the reality in Korea. Furthermore, it accorded with the Korean government’s objective to create a nationwide venue for art participated by all artists, as well as responded in an appropriate manner to the needs of the artists who attempt to acquire authority and honor through the National Exhibition, thus fulfilled its mission.