토론자 ; 스마트 시대의 주5일 수업제 -“주 5일제 수업 전면실시에 따른 지역자원 연계 활성화 방안”에 대한 논의

최태만 한국청소년학회 2012 한국청소년학회 학술대회 Vol.2012 No.-

모노하와 사물들의 공화국

최태만 국민대학교 종합예술연구소 2003 예술논총 Vol.6 No.-

히로시마에서 후쿠시마까지, 핵과 미술가의 대응

최태만 한국미술이론학회 2012 미술이론과 현장 Vol.13 No.-

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including <Little Boy: the Art of Japan's Exploding Subculture> and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

1980년대 한국사회와 민중미술 - 대중소비사회의 시각이미지와 비판적 리얼리즘의 재고

최태만,Choi, Tae-Man 한국미술이론학회 2009 미술이론과 현장 Vol.7 No.-

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

과연 비엔날레는 세계화의 전도사인가?

최태만 한국미술이론학회 2005 미술이론과 현장 Vol.3 No.-

패전 후 일본 전쟁기록화 처리와 미술가의 행보 -일제 강점기와 패전 후 야마다 신이치(山田新一: 1899-1991)의 조선에서의 활동

최태만 한국기초조형학회 2015 기초조형학연구 Vol.16 No.2

중일전쟁 직후 전쟁기록화의 역할에 주목한 일본 군부는 당시 일본의 저명한 화가들을 동원하여 전쟁기록화를 제작, 전국을 순회하며 전시를 개최하고 주요 기관에 헌납했다. 그 중 일부를 일본의 패전직전 조선에서 전시하기 위해 서울로 운송하였으나, 일본이 항복하면서 이 전쟁기록화는 당시 조선총독부 보도부 미술반장이었던 야마다 신이치(山田 新一)에 의해 은닉되었다. 1899년에 태어나 도쿄미술학교 서양화과를 졸업한 야마다 신이치는 1923년 서울로 와서 경성제2고등학교 미술교사로 재직하며 조선총독부가 주최하던 조선미술전람회에 출품, 여러 차례 상을 받으며조선에서 활동했다. 그러나 중일전쟁 직후 일본이 총력전체제로 진입하면서 그는 조선에서 많은 전쟁기록화를 그렸고, 조신인과 일본인 화가들을 모아 ‘단광회’를 조직하여 일본의 군국주의를 고무, 찬양하는 활동을 했다. 전쟁기록화를 은닉한 후 일본으로 돌아간 야마다는 1946년 GHQ의 계약직으로 전쟁기록화 수집업무를 맡았다. 1946년 5월GHQ의 앤더슨(Leslie Anderson) 대위와 서울로 온 야마다는 자신이 은닉했던 전쟁기록화를 수집하여 일본으로 돌아갔다. 이 전쟁기록화는 미군에 의해 압수, 1952년 미국으로 이송되었으나 1970년 무기한대여 형식으로 일본으로 반환되었다. 이 논문은 그 동안 구체적으로 알려지지 않았던 전쟁기록화의 수집과정과 수집된 주요작품을 야마다의 회고와 당시 최근에 공개된 그의 일기를 통해 규명함으로써 일본에서 이루어진 전쟁기록화 수집에 관한 연구를 발전시킨 것에 그 의의가 있다. Japanese military authorities realized the important role of war documentary paintings and encouraged well known painters to produce war documentary paintings after the Sino-Japanese war. Those paining were exhibited throughout the country and were contributed to major institutions. Some of the paintings were shipped from Japan to Seoul for exhibitions before the war ended. However, they were hidden away by Yamada Shinichi, chief of fine arts in the press section for the Japanese Government-General of Korea. Yamada Shinichi was born in 1899, and graduated from Tokyo Academy of Fine Art. He moved to Seoul in 1923. While he was working as an art teacher at Gyoungsung 2nd High School, he was awarded many times at Joseon Arts Exhibition which was organized by the Japanese Government-General of Korea. However, Yamada painted numerous war documentary paintings as Japan shifted to all-out war mode after Sino-Japanese war. Furthermore, he organized ‘Dan Gwang Hwae’ with Japanese and Korean painters to praise and inspire Japanese Militarism. After hiding the war documentary paintings, Yamada returned to Japan and worked as a contract worker at GHQ collecting war documentary paintings. In May 1946, he came back to Seoul with Captain Leslie Anderson, GHQ to retrieve the war documentary paintings that he had hidden. Those war documentary paintings were then confiscated by the US military and shipped to the United States of America. However, the paintings were returned back to Japan in the form of lend-lease. The purpose of this paper is to disclose how the war documentary paintings were recollected through Yamada’s retrospect and his diary.

이탈리아 르네상스 회화에 있어서 상징과 알레고리

최태만 서울産業大學校 1997 논문집 Vol.45 No.1

This is an iconological approach to the Italian Renaissance Painting which contains profound symbol and allegory. According to art historians, many Italian Renaissance paintings menifest the philosophy of Neo-Platonism through symbols and allegories. Thus this methodological approach directs one to the interpretation of themes and meanings which are soaked into the form or the surface of each painting. The main purpose of this study is to verify the hidden meaning of a painting on the basis of the investigation of interdisciplinary possibility between humanity and art. When it is possible to prove the quality and value of a painting through these iconological methods, I would like to expound two masterpieces from the Italian Renaissance painting; <Primavera> by Sandro Botticelli and <Tempest> by Giorgione. Although these works of art are difficult and complex to appreciate, iconology offers the viewer some clues to interpret each symbol and allegory in accordance with the study about activities of the humanists of that time In conclusion, I believe iconology can illuminate a painting's quality as well as its hidden meaning of a painting. Therefore, this study could offer an analytical method to find the positive value of a painting.

현대 한국미술과 도시문화 - 1980 · 90년대 미술에 표현된 서울의 도시풍경을 중심으로

최태만 동악미술사학회 2010 東岳美術史學 Vol.0 No.11

이 논문은 서울의 도시문화가 문학예술에서 표현되기 시작한 것은 근대도시의 면모를 보여준 1930년대이지만, 이 시대 미술에서 그 맹아를 찾기가 쉽지 않으며, 전후 경제개발과정에서도 서울은 단지 관조 대상으로만 재현되었으나 1980년대에 이르러 비로소 도시문화의 팽창과 함께 미술에서도 이를 표현하는 현상이 나타났다는 가설에서 출발하고 있다. 이 가설을 논증하기 위해 1980년대 도시문화의 팽창을 가능하게 했던 도시개발의 과정과 특징을 검토하고 서울의 급속한 성장과 팽창이 미술가들로 하여금 도 시 자체는 물론 그 속에서 이루어지는 삶의 방식인 도시문화에 대해 주목하도록 만들었음을 밝히고자 했다. 1980년대에 발표된 작품에서 도시에서의 일상과 개인적 삶, 백화점 진열장으로서의 도시공간을 해석하고자 한 단초를 발견할 수 있었다. 공간적으로 서울을 대상으로 했으나 서울이 한국의 도시화현상의 진원지이자 도시문화를 압축적으로 보여주고 있으므로 그 영향권으로부터 자유로울 수 없는 한국의 대도시에서 발견할 수 있는 특징이라고 할 수도 있을 것이다. 이 논문을 통해 서울의 이미지를 재현한 미술 작품 모두를 대상으로 삼을 의도는 없었으나 도시가 팽창하면서 나타난 변두리 도시빈민의 삶을 표현한 손상기, 1990년대 이후 서울을 대상으로 많은 작품을 발표해온 오치균, 최진욱 등의 작품은 논지의 흐름에 따라 제외했을지라도 후속연구를 통해 이들이 서울이란 도시를 어떻게 읽고, 해석하고 있는지에 대해서도 분석할 필요가 있을 것이다. 특히 1990년대 미술에서 서울이 어떤 방식으로 재현되고 있는가를 규명하는 것이 중요한 부분이라고 할 수 있다. 한국의 현대미술에서 서울이란 도시공간을 대상으로 한 사례가 많지 않다는 점도 연구를 어렵게 만드는 부분이었으므로 문학 속에 표현된 서울의 이미지와 그 도시적 삶을 많이 참고하였으나 문학작품의 해석방법론으로 포착할 수없는 한계가 분명한 만큼 수평적인 대입보다 교차비교의 방법을 적용하고자 했다. 논문의 학문적 엄밀성을 위해 독창적이고 특정한 주제에 대한 집요한 천착이 전제되어야 하지만 미술작품에 나타난 서울의 이미지는 물론 그 속에 내재한 도시문화 전반을 연대기적으로 조명하되 비평적 분석을 시도한 것에서 이 논문의 의의를 찾을 수 있을 것이다. This article attempts to provide an critical analysis of the emergence and expansion of urban culture in Seoul. The main purpose of this article is to prove the reality of urban culture focused on not only the comparative approach to artworks which described cityscape as well as dairy life in the city but also based on the method of cultural studies. According to Japanese colonial policy in 1930s, urban culture has took place in modernized phenomenon such as cafeteria, department store, bank, and modern transportation and communication means, then modern Korean literature and journal represented those particular scenes. However, strong modernization and industrialization project driven by government of South Korea in 196·70s drawn up rapid urbanization in Seoul. In the results of this urbanization, Seoul became one of the biggest cities in the globe and expansion of urban culture has coincidentally promoting in several aspect. Since the beginning of 1980s, some artists present these urban culture instead of landscape as a contemplated object. After 88 Seoul Olympic game, subcultures led by ‘New Generation’provided an opportunity to expand postmodern phenomena at Gangnam and Sinchon area. In conclusion, artists presented urban culture in their artworks since 1980s and it continued 1990s by followed young artists.

청계천복원과 ‘도시에 대한 권리’로서 공공미술

최태만 한국근현대미술사학회(구 한국근대미술사학회) 2019 한국근현대미술사학 Vol.38 No.-

This paper intends to analyze the achievements and limitations of Cheonggyecheon Restoration Project(CRP after this), which has been regarded as a successful case of urban regeneration. To this end, the restoration process will be investigated by examining the history of Cheonggyecheon. CRP was completed in a short period of two years and three months and opened restored Cheonggyecheon on October 1, 2005. However, the city government of Seoul frequently ignored or dismissed the opinions of the Citizens Committee, which caused controversies throughout the CRP process. CRP did not restore the historical site to original form, whose water path was buried in concrete from the Japanese colonial period until 1971. In addition, in the result of restoration, Cheonggyecheon to be artificial river instead of natural river by supplied water taken from the Han River. Furthermore, artificial structures such as waterfall, fountains, water screen and theme parks were constructed only to reveal the problems of de-historization and despatialization, which distort the history and ecological environment of Cheonggyecheon. While most previous studies dealt with the achievements and problems of Cheonggyecheon Restoration from the viewpoint of historical and ecological restoration, this paper focuses on the problem of public sculpture, titled ‘Spring’, designed by Claes Oldenberg and Cooje van Bruggen, which was constructed at the Gheonggye Plaza in commemoration of the completion of restoration. In order to critically analyze the problems of restoration as well as lack of social consensus on the construction of Spring, this paper refers to ‘the right to the city’ presented by Henri Lefebvre and David Harvey. Just as other artificial structures constructed along in Cheonggyecheon only to provide spectacles, Spring was also constructed for the urban beautification, which repeats the problems of public art occupying public space. In order to overcome this problem, this paper claims for the need for discussions about urban identity and sustainable public art, instead of building a lot of large scale of massive constructions to fabricate urban symbols. In conclusion, this paper proposes ‘cooperative governance’ as an alternative to ‘good governance’ to practice ‘right to the city’ through public art.

다원주의의 신기루 : 포스트모더니즘의 이해와 오해

최태만 현대미술학회 2002 현대미술학 논문집 Vol.6 No.-