비엔날레를 통해 본 중국 실험미술의 전개

유재길(Yoo, jae-kil),김문정(Kim, moon-jung) 한국조형디자인학회 2009 조형디자인연구 Vol.12 No.3

The Chinese avant-garde art that this study aims at is progressed through the changing steps in most clearly manners in the Chinese contemporary art phenomena, which have been developed in earnest since the 1980s. The contemporary art in China is related to political situations more closely than those in other global areas. For this reason, the Chinese avant-garde art is at odds with the government from the beginning to obtain the duly right to the free exhibition or display, getting out of the overt censorship. However, with the circumstances in an effort to get the enlarged right to production of art work and expression, all the activities about exhibition came under the rigid censorship by the government after the Tiananmen Square protests in 1989 and faced with cooling period rapidly. It seems that the Chinese avant-garde art was faced with crisis thanks to the Tiananmen Square incident. And yet, unexpectedly, this mishap played a role as shortcut to a new breakthrough. Those contemporary art in China, whose introduction to the western hemisphere was initiated in the 1980s, became a refreshing impetus to the international art community thirsty for a new thing, gaining much attraction. Their avant-garde art of the 1990s were handled heavily via the art works done by the Chinese immigrant artists in such a large scaled global exhibition as Venice Biennale. As the international attention was paid to the Chinese avant-garde art increasingly, the greater concern was triggered in the country through a variety of the domestic shows for their own avant-garde arts in recognition of these circumstances. Based on the criticism in the political sense, the avant-garde art trials that were performed vehemently outside the institutional framework got down to a series of institutional entrance and went through a great change after the 1990s. This study worked on this and dealt with 'a matter of institutionalization' outspoken in the expressing method of avant-garde arts, which have gained a spotlight again through the domestic biennale and show since the 1990s especially in the developing phases. For this purpose, the Chinese avant-garde art was reviewed according to its chronological nature and this study took a look at what details were related to the biennale performed inside and outside. Then, the discussion proceeded to the institutionalized experiment by approaching the microscopic way in terms of the trend analysis of specific expression mode for the various problems that go with the Chinese avant-garde art. In case of China, the special style unique to China was established for their ownavant-garde arts under the contradicting coexistence with social regime and market economy both. From this interesting fact, this phenomenon was interpreted herein as 'concealment' strategy concurrent with Jean Baudrillard. Their avant-garde art mode recognized as remarkably strong, accelerated into the political institution since the 1990s, deals with the cover-up about 'intrinsic existence' behind rather than the deliverance of what is just seen commonly as it is. Consequently, it could be concluded that the political censorship and confinement were definitely contributable to establishment of the Chinese unique mode in the avant-garde art in the course of entering into an awkward harmony with the market economic system after the era of the 1990s.

베니스 비엔날레 한국관 연구 -글로벌 미술담론의 변화와 한국과의 관계를 중심으로

유재길 ( Jae Kil Yoo ),김택용 ( Taek Yong Km ) 한국기초조형학회 2010 기초조형학연구 Vol.11 No.6

오늘날 비엔날레는 동시대 미술의 현 지점을 보여주며, 과거 담론에 대한 대안을 모색한다. 국제미술의 현장으로서 비엔날레는 새로운 장르와 양식, 시의적 담론들과 이슈, 전 세계 작가들의 국가적, 민족의 각축장이 되고 있다. 1990년대에 들어서면서 베니스비엔날레는 포스트모더니즘의 다양한 담론을 바탕으로 다면적 코드를 전시개념에 수용하고 새로운 이념들을 전시개념에 반영하였다. 그리고 관객과 예술의 새로운 관계성의 전시를 보여줌으로써 비엔날레가 가지고 있는 한계점을 극복하고자 노력했다. 하지만 특별전이 보여준 전시개념과 구조의 획기적인 변화와는 달리, 여전히 문화패권주의적 성향을 보여주는 국가관의 전시경향과 서구사상의 미적지식을 바탕으로 한 큐레이팅 방식은 서구적 시각에서 크게 벗어나지 못하는 한계점으로 지적되곤 한다. 이런 점에서 우리는 글로벌리즘의 문화 정치적 도구로서의 비엔날레를 살펴 볼 필요가 있다. 본 연구는 한국관이 개관된 1995년 장 클레르(Jean Clair)의 45회 비엔날레부터 최근 번바움의 53회 전시를 통해 한국관이 동시대 미술에 어떠한 방식으로 개입하고 미술의 맥락을 생산하고 있는지 주목하였다. 한국현대미술이 어떻게 동시대 미술현장에 개입 하는지 알아보기 위해선 우선 베니스비엔날레 그 이면에 존재하고 있는 다양한 지층들을 점검할 필요가 있다. 이런 점에서 본 연구는 베니스비엔날레에 대한 거시적 조망을 통해 글로벌 미술담론과 한국관의 상호관계를 살피는 과정과 같다. The current Biennale shows a present point of the contemporary arts and also it is seeking alternative for the past discourse. As a field of international arts, Biennale is in charge of the national arena of competition among the artists all over the world for the new genre and style as well as timely discourse and issues. At the beginning of the 1990s, Biennale accepted a many-sided subject and reflected new concepts into the exhibition based on a various discourse of postmodernism. Also, Biennale tried to overcome the limitation as it showed the exhibition of the new relationship with audience in arts. On the contrary to the innovative change on special exhibit, Biennale is still pointed out its limitations. Since it still has problems with the exhibition of an outlook on the nation reflecting on the cultural supremacy and the way of curating based on the aesthetic knowledge of the Western thought. In this respect, we need to look into the Biennale with new aspect as cultural and political tool in today`s global era. In this research, we paid significant attention to Korean Pavilion about how it involved in the contemporary fine arts and produced the art context from the first opening of the Korean pavilion on 45th Exhibition (by Jean Clair, 1995) to the 53rd Exhibition (by Daniel Birnbaum, 2009). First, we need to examine the diversity of aspects that lie behind the Biennale in order to how Korean arts could be involved in the contemporary fine arts. Accordingly, herein we reported the relationship between Korean pavilion and global arts discourse through the macro view of the Venice Biennale.

뉴욕 현대미술관(MoMA)연구

유재길(YOO, Jae-Kil) 한국조형디자인학회 2007 조형디자인연구 Vol.10 No.1

The Museum of Modern Art (MoMA) in New York, U. S. A was re-opened on Nov. 20, 2004 with a slogan, "Manhattan is Modern Again". It indicates that MoMA which has around 70 years history from 1929 to the present is seeking a new change after modernism. Re-opening of MoMA in 2004 aims to not only to simply expand the space but also attain the glory of American modernism in 1960s. The purposes of re-opening are, 1) Core role of world's modern art, 2) Expansion of art museum space, 3) Collection of representative art works in the same period, 4) advancing exhibition planning and 5) Sympathy and Exchange between people and MoMA in accordance with expansion of art education. The study herein is to focus on the purpose of MoMA re-opening and development of American modernism. Especially, it focuss on admission and change of modernism art pursued by MoMA till the present, spatial characteristics in accordance with re-opening and exhibition planning. Moreover, the new MoMA model inquired by American society such as new exhibition space application, admission of various genres art museum, etc, can be checked from the re-opening. The study is started from modernism art of early MoMA which its basic frame was established by Alfred H. Barr, Jr. the first curator. Alfred H. Barr, Jr. focused on the collection of European impressionism and late impressionism art work, and furthermore, made a key role to establish American modernism art with exhibition planning and work collection of Picasso, Matiss and abstract art work. Subsequently, re-opening of MoMA in 2004 is mentioned with checking the birth of American modernism in 1960s. Re-construction was carried out by Yoshio Taniguchi, which is called as "White Box" in modernism style. It shows the trend which continues past modernism rather than dramatic change and prepares the future. The study herein focuses on the change and characteristics of space and exhibition contents in accordance with re-opening. Also, the study herein gropes social and public property of art museum with dealing positive and negative aspect of expansion of MoMA. For the former study which pointed the role of 21st century art museum related to this, The Early Years of the International Program and Council of Helen M. Franc, or collections and exhibition plan. Moreover, from the overview of art education for various popularization as well as various space formation, a new model of modern art museum is presented. *

공공미술과 장소로 확장된 예술의지(Kunstwollen)에 관한 연구

유재길 ( Jae Kil Yoo ),성원선 ( Won Sun Seoung ) 한국기초조형학회 2012 기초조형학연구 Vol.13 No.3

공공미술은 지난 40여 년 동안 세계의 미술환경 속에서 인간의 삶을 구현하는데 있어서 필요한 예술적 영역으로써 정책적 지원을 받으며 다양한 각도에서 발전했다. 그와 더불어 현대미술의 다양하고 혁신적인 창의적 활동들은 공공미술의 경계를 계속적으로 확장하며, 새로운 장르성 즉, 건축물속의 미술, 공공장소속의 미술의 영역을 넘어서, 사회적 환경을 조성하고, 관계를 성립하는 공공영역의 미술로써 확장되고 있다. 예술과 공공의 문제를 확장적으로 인식하고 작가가 표현하고자 하는 예술개념에 대한 실천적 과정을 조형적이나 미학적으로 분석하여야만 한다. 그것을 통해 현재의 공공미술에서 대두되는 개념적, 사회적 예술형식을 미술 비평적으로 분석하는 토대를 형성하게 된다. 본 연구에서는 동시대 미술담론과 비평에 있어서 공공미술의 담론의 시작을 로잘린 클라우스(Rosalind Klauss)의 「확장된 장으로써의 조각」에서 나타난 조각에 대한 견해를 토대로 하여 연구하고자 하였으며 연구의 범위를 1977년 이뤄진 제 1회 뮌스터 조각프로젝트의 작품을 통해 연구하고자 하였다. 뮌스터 조각프로젝트에서 나타나는 장소찾기 (Platzsuche)를 통해 제기된 공공/ 공공성 (Public/publicness)의 문제와 프로젝트 참여 작가들의 공공영역 (Public Sphere), 공공장소 (Public Place)에 대한 인식들을 도널드저드(Donald Judd), 클래스 올덴버그(Class Oldenburg), 요셉 보이스(Joseph Beuys), 칼 안드레(Carl Andre), 마이클 에셔(Michael Asher), 브루스 나무만 (Bruce Naumann)의 작업을 통해 분석하고자 하였다. 또한, 공공성과 도시 공간, 공공영역으로 확장되는 작가들의 예술의지(Kunstwollen)를 미술 비평적으로 접근하였으며, 결론적으로 조각의 확장적 영역으로 공공영역과 공공성에 대한 미적담론의 필요성과 사회적, 역사적 그리고 시대적으로 변화하는 대중과의 예술소통의 가치를 위한 새로운 작가적 예술의지들이 고양되어야 한다는 것을 주장하고자 하였다. Public art has developed in various aspects with political support as an artistic field needed to realize human`s life in the world art environment for last 40 years. With this, the modern art`s various and innovative creative activities constantly expand the boundary of public art, make a social environment beyond the domain of art in public space, a new genre, that is, art in architecture, and expand as the art of public space which established relations. In order to recognize the problem of arts and publicness expansively and to consider and analyze its aesthetic discourse from a critical point of view, it is necessary to analyze the practical process toward artistic concepts which the artists aim to express formatively or aesthetically in forming the basis for analyzing conceptual and social artistic formality which is on the rise in the public art. This study aimed to examine the contemporary artistic discourse and criticism through the works of art in the 1st Munster sculpture project performed in 1977 which makes factors and to conduct a critical consideration based on the opinion of Rosalind Krauss. The development of public art in various viewpoints, to analyze the sphere of sculpt in an artistically critical approach as an expanded place of the problem of public/publicness shown through Platzsuche shown in it and the recognition toward a public sphere and a public place of artists ( Donald Judd, Class Oldenburg, Joseph Beuys, Carl Andre, Michael Ashe, Bruce Naumann) participating in the project This research topic, through a critical approach of publicness of Munster Sculpture Project is important to verificate artist`s Kunstwollen and expanded sculptural point of view about integrating social and analyzed. Participation in public and social awareness and art experiments on a new role for the modern practices on the relationship of the artist as well as Kunstwollen in the public domain, through the expression of its influence in public urban spaces and the expansion of the concept, and the new public art reached the conclusion that art as a genre was developed.

라틴아메리카 현대미술의 국제화에 관한 연구 -1960년대 아르헨티나 전위미술을 중심으로

유재길 ( Jae Kil Yoo ),오병희 ( Byung Hee Oh ) 한국기초조형학회 2011 기초조형학연구 Vol.12 No.3

현대미술의 세계화 과정 속에서 라틴아메리카 미술은 어떠한 변화를 거쳐 왔는지를 연구하는 시발점으로서, 1960년대 아르헨티나의 전위 예술을 살펴보고자 한다. 당시의 젊은 작가들은 유럽이나 미국의 작가들과 동시적으로 실험적인 개념미술과 팝아트를 선보이면서, 자국의 미술을 국제화의 흐름에 유입시키고자 하였다. 1960년대 미국은 라틴아메리카와의 ``진보동맹`` 을 통하여 경제원조 뿐만 아니라 문화교류를 중요시하는 외교를 펼쳤다. 이러한 사회적 배경이 라틴아메리카 미술의 국제화를 촉진시키기는 했지만, 외부적 요소 못지않게 자발적으로 국제화의 노력을 기울였다는데 의의가 있다. 아르헨티나의 미술계는 국립미술관이나 디 뗄라와 같은 예술교육기관을 통하여 국제화를 향한 제도적 노력을 기울였으며, 외국의 유명 비평가를 심사위원으로 초빙하는 수상제도를 운영하기도 했다. 하지만 유럽과 미국에서는 여전히 아르헨티나의 전위예술을 지역의 정체성이나 문화인류학적인 측면을 강조하여 평가하려는 관점이 지배적이었다. 서구의 사람들이 소위 ``제3세계`` 국가의 미술 작품을 비평할 때에는 국제적이고 보편적인 미적 기준보다도 지역적이고 특수한 내용을 우선시하는 경향이 우세하다. 따라서 오늘날 많은 라틴아메리카 미술가들이 다원주의적 국제 전시에 참여한다는 것만으로 라틴아메리카 현대미술의 국제화가 이루어졌다고 볼 수는 없다. 국제화 실천에서 발생하는 이러한 모순은 한국미술의 세계화를 위한 제도적 실천들에 노력을 기울이고 있는 오늘날의 한국미술계에도 공통된 문제점이기도 하다. For studying on transition of Latin american art in the influence of globalization in contemporary art, it can be a good stating point to investigate Argentinean avant-garde art in 1960`s. Then Argentinean young artists displayed experimental conceptual art and pop-art at the same time as artists in Europe or USA, and tried to insert their artwork in the international art stream. In 1960`s USA government carried out a diplomatic policy, named ``Alliance for progress`` with Latin america. It regarded cultural exchange as important besides economic aid. Though social context like this promoted internationalization of Latin american art, it is significant that Argentineans accept the internationalization spontaneously. Argentinean art world worked hard to attain the international value through the institutional system ; national museum and educational institution Di Tella. They also made a prize and invited the famous foreign critics as judges of the prize. But it is dominant among the critics in Europe and USA to appreciate Argentinean avant-garde art with emphasizing the regional identity or the aspect of cultural anthropology. When the western people critic on the artwork from so-called ``the third world``, they have a tendency to take interest in the regional and particular contents over the international and universal aesthetic value. Because of this reason, even though the quantity of participation of Latin american artists in global exhibition has increased, but we cannot think that internationalization of Latin american art completed in success. Korean contemporary art world making effort to globalize their own art, has common problem with Latin american`s ; The contradiction taking place in the practice of internationalization

어린이를 위한 미술 · 디자인 감상 이론과 실제 연구 : 바르브-갈의 연령별 접근 분석을 중심으로

유재길(Yoo, jae-kil),김조은(Kim. Jo-eun) 한국조형디자인학회 2013 조형디자인연구 Vol.16 No.4

최근 국내의 초대형 미술전시에 많은 관객이 몰리고 있다. 특히 어린이를 동반한 젊은 부모들의 적극적 참여는 예술작품에 의한 우리의 미적제험 확장과 행복감, 그리고 무엇보다 우리의 삶과 정신세계를 풍요롭게 한다는 절대적 믿음에서 시작되는 느낌이다. 본 연구는 이러한 분위기 속에서 난해하다고 하는 현대미술을 어린이에게 어떻게 설명할까하는 의문에서 시직된다. 현재 이에 대한 구체적 연구로 가장 주목되는 것은 프랑스 미술교육가 프랑스와즈 바므브-갈(Francoise Barbe Gall)의 어린이 미술감상볍이다. 그는 2002년 이후 CORETA(COmment REgarder un TAbleau)라는 문화단체를 설립, 운영하며 일반인과 어린이들이 미술에 쉽게 접근할 수 있도록 다양한 저작과 연구 활동을 하고 있다. 특히 어린이를 위한 현대미술 감상법 연구는 난해하다고 생각하기 쉬운 오늘날 미술감상에 있어서 나이별로 알맞은 질문과 담변 등이 만들어져 좋은 평가를 받고 있다. 본 연구목적 역시, 어린이 현대미술 감상을 위해 바르브-갈의 방법론을 적용하여 그 실례들을 소개하는 동시에 프랑스의 현대 미술관에서 실행되고 있는 효과적인 어린이 미술 감상 교육 프로그램을 집중 소개하고 분석하여 우리 현실에 어린이 미술 감상법으로 근거를 마련하고자 한다. 따라서 어린이를 위한 현대미술 감상법으로 본 연구결과는 첫째, 단계별 미적 체험 활동을 지속적으로 체험하게 하고 둘째, 미술작품에 대한 감동과 지적 호기심을 환기하여 주체적으로 감상하도록 하며, 셋째로는 미적대상에 대한 어린이들의 직감을 인정하고 계발하도록 북돋아 주는 목표를 갖는다. Recently, there are so many 'Blockbuster' Art and Design Exhibitions in korea and these kind of exhibitions draw a large audience. maybe there is some kind of strong belief that the expansion of the art experience makes our life more affluent As a result of this belief, we can see many enthusiastic young parents going to the art gallery with their children. In this circumstances, 'How to explain the esoteric contemporary art work to our children.' is the starting point of this study. Lately, 'Art appreciation method for children' of french art educator Françoise Barbe-Gall is very noteworthy as a concrete study in this field. In 2002, she founded CORETA(COmment REgarder un TAbleau) and tried to improve accessibility to art appreciation for children and general public through writings and researches. Especially, Franç oise Barbe-Gall's art appreciation method for children is very well regarded. Because this method produces proper questions and answers in accordance with their ages. Illustrating Franç oise Barbe-Gall's method by giving a real application examples and analyse effective programs of the contemporary art museum of France, I want to find out the proper method for our actual situation That is the object of this study. As a result of this study by the art appreciation method for children, it is recommended to continually provide the art experiences stage by stage and help the children to appreciate the art work more autonomously. And also, it is important to accept children's intuition for every aesthetic objects around them and trying to develop it.

피터 브뤼겔의 화면구성 특징과 상징성 연구

유재길(Jaekil Yoo) 서양미술사학회 1992 서양미술사학회논문집 Vol.4 No.-

Pieter Bruegel(1525/30~1569), the 16th century Flemish painter, is newly assessed these days and his works have been discovered to allow more than one interpretstion. The aim of the present study is to examine the world of Bruegel’s art, particularly the characteristics of his pictoral composition and symbolism in relation to his themes. The fundamental characteristics of painting will also be defined when the Bruegel’s art and the underlying spiritual and social relationships are investigated. To this end, three works of 〈Landscape with the Fall of icarus〉 (1555), 〈The Netherlandish Proverbs〉(1559), 〈The Parable of the Blind〉(1568), representing his early, middle, and late periods respectively, are chosen and will be analyzed in detail to show his compositional transition and symbolism. Two different approaches are possible to study the works of Bruegel. The first is to approach his work as genre painting in consideration of the unique pictoral compisition of his. We discover simple beauty in his realistic depiction of rustic country scenes and of farmers’lives. He paints the mountains, oceans, rivers, and fields and makes us beholders feel the power of vast nature. And the struggle of the people trabailing daily in the majestic nature is plained reproduced in his pantings. His brush is without sophistication, crude and coarse, and is conducive to the creation of the atmosphere of smplicity. The bird’s eye veiw composition of Bruegel based on the perspective representation in the meantime greatly enhances his theme. In pictoral composition Bruegel ignores the sense of balance and proportion seen in the style of Italian Renaissance. His paintings not only bring out the beauty of plain order but also complete the most unique style of Dutch painting. The second is to approach the works of Bruegel not as genre painting but to be of symbolistic style : in other words try to figure out the hidden meaning in the depiction of the ordinary farmers and farm scenes. He laces the popular subject matter with the religious and moral instructions. Bruegel happens to be one of those painters who put moral content ahead of stylistic beauty. The images he has created bear dual meaning and yield diverse interpretation for the beholder. His canvas is full of symbolic contents and suggests the contrast between the world of fantasty and the reality such as good and evil, beauty and squalor, heaven and hell. It will be a tall order to uncover the symbols concealed in his pictures, and yet we will be able to grasp the essence of Bruegel’s art world by probing into his intention. When we face the works of Bruegel, we get the felling of reading a book of sayings or of philosophy. This impression underlines the import of roles the art and an artist can play to his times and society. The scenes and spirits of the times and community Bruegel lived in are vividly captured in his paintings. Unlike the ordinary verbal language, his instructive pictures underscoring a distinctive purpose and expressed in symbolism, in the meantime, impart the beauty of plastic dynamism with beautiful visual language. Everyone of his pictures presents the solution to the question of survival and to the life of darkness in Flanders in the 16th century. The paintings of Bruegel read with eyes are te culmination of humanism based on the love of mankind. His paintings are no longer the simple northern European landscapes or genre painting ; they are now emerging to manifest the style of symbolic theme and deemed important. However, the symbols contained in the picures of Bruegel are metaphorical and render all sorts of interpretation. His canvas is full of images that are yet to be resolved. This is the challenge the are historians of today can undertake and uncover one by one. This paper has exclusively dealt with the principles of the pictoral composition and the thematic synbolism in the paintings paint

나오시마 프로젝트의 공간과 디스플레이 연구

유재길(Yoo Jae kil),윤의향(Yoon Eui hyang) 한국조형디자인학회 2014 조형디자인연구 Vol.17 No.4

본 연구는 나오시마 프로젝트의 공간디자인과 디스플레이를 중점적으로 다룬 연구이다. 나오시마 프로젝트는 베네세하우스와 지추미술관, 이우환미술관, 이에(家) 프로젝트 등 여러 대상을 내용으로 한다. 특히 연구 주제로 강조되는 것은 안도 다다오安藤忠雄의 건축적 특성과 전시장의 공간 디자인, 그리고 작품 설치와 관계이다. 세부적 연구방법으로 나오시마 프로젝트 특성으로 지적되는 장소성에서 공간디자인 특성과 디스플레이를 주목하며, 본고에서는 지추地中미술관을 표본대상으로 안도 다다오 건축에 나타난 공간디자인 특성과 개별 작품으로 모네의 <수련> 공간을 중심으로 디스플레이 문제와 같이 종합적으로 해석하고 논의하고자 한다. 여기서 무엇보다 강조되는 것은 안도 다다오의 건축의 장소성으로 첫째로 자연환경과 건축의 관계에서 건축물과 주변 환경의 조화로 빛, 물, 바람, 하늘 등의 자연 요소들이 건축물과 함께 지각되는 공간디자인 연구이다. 아울러 자연과 인간, 사회속의 공간 디자인을 생각하며, 현대미술과 연결된 장소특정적 상황의 디스플레이 효과 연구이다. This study mainly covers the spatial design and display of the Naoshima Project. The project includes Benesse House, Chichu Art Museum, Lee Ufan Museum, Art House Project, and many more. Especially the relationship of the architectural characteristics, spatial design of the exhibition hall and installation of art works of Ando Tadao was emphasized as the subject of this study. As its specific research approach, I paid attention to the characteristics of the spatial design and display in the sense of place pointed out as one of the attributes of the Naoshima Project. And in this study, with Chichu Art Museum as the sample, the characteristic of the spatial design found in the architecture of Ando Tadao and the space in Monet's <Water Lilies> for an individual work will be comprehensively interpreted and discussed in addition to display issues. What is more emphasized in this is the sense of space that the architecture of Ando Tadao has; one is the study on the spatial design regarding in the harmonization of buildings and surrounding environment in the relationship between the natural environment and the architecture in which the natural factors such as light, water, wind, and sky are recognized together with the buildings. And the other is the study on the effects of display of site-specific situations, connected to the modern art, with spatial design of nature, human being, and society taken into consideration.

현대미술에서 물질의 확장 연구

유재길 ( Jae Kil Yoo ) 한국기초조형학회 2007 기초조형학연구 Vol.8 No.1

보들레르의 심미적 미술비평

유재길(Jae-Kil Yoo) 서양미술사학회 1996 서양미술사학회논문집 Vol.8 No.-