극재 정점식 = 서구 추상미술의 수용과 그 한국적 변용

다국어 초록 (Multilingual Abstract)

Jeom-shik Jung (known as “Gukje”, 1917-2009), is generally understood as one of the pioneering abstract artists in Korea. Evaluating Jung as one of the leading abstract artists not only elevates but also marginalizes the status of the artist because he is regarded as one of the group members of the Modern Art Association rather than as an individual, independent artists. It also forces the scholars to focus only on the artist’s works produced during the 1950s leaving the rest of his works virtually undiscussed. As Jung’s works contain aspects that cannot be fully explained under the logic of modernist reductionism, this paper intends to investigate the life and works of the artist in more detail.
The paper is consisted of three parts. After discussing the tendencies and limitations of current scholarship related to the artist in Chapter Two, Chapter Three analyzes in detail the writings remained by the artist to examine Jung’s understanding of Western art language and his reasons for acceptance/denial. Chapter Four examines the works of Jung from the 1950s to the 2000s. By identifying and developing what the artist considered to be “Korean”, Jung work eventually becomes an artistic metaphor representing the cultural landscape of his time reflecting the tension between the Korean artistic tradition and modernism.

목차 (Table of Contents)

• Ⅰ. 들어가는 말
• Ⅱ. 기존의 연구가 가지는 문제점
• Ⅲ. 서구 추상미술에 대한 작가의 수용/비판적 입지
• Ⅳ. 한국적 변용을 향한 실험의 현장
• Ⅴ. 나오는 말
• 참고문헌
• Abstract