한국 극사실 회화의 미술사적 규정 문제 = Definition of the Korean Hyperrealism Painting in the Fine Art History

다국어 초록 (Multilingual Abstract)

Now is the time when the Korean hyperrealism painting should be established as an independent mode. For many scholars agree to a modal and substantial ground for differentiation of the Korean hyperrealism painting from its American counterpart. In addition, many scholars tend to admit that the historical background of and the social conditions for the Korean hyperrealism painting is different from those for the Western hyperrealism painting.
Some scholars seem to perceive that it would be no problem to subject the Korean hyperrealism painting to the American one in this age of globalization. Such perception must be wrong. As mentioned already, the Korean hyperrealism painting differs from the American one in terms of materials, expressions and formal logic. In other words, the Korean hyperrealism painting has a different raison d'etre as well as its own independent value. In such circumstances, we need to review the historical background of the hyperrealism painting in depth as well as the legitimacy of the nea-figurative art engaging the contemporary artists. And we also need to expand the scope of our review by examining the aspirations for the nea-figurative art within the National Art Exhibition and reflecting on the context of the so-called 'Modernism Movement' affecting the neo-figurative art in the process of its globalization, just beyond accommodation of or reaction to the American hyperrealism. For art works are cultivated and sprouted by the environmental factors provided for in a certain age and at a certain place to bear fruits.
Although the Korean hyperrealism painting has evolved accommodating the American pop and hyperrealism and reacting to them, but its origin should be traced back to the historical context of the Korean painting. The origin is three-fold: a maternity room of academism or the experimental trend within Korean National Art Exhibition, the horizon of People's Exhibition which emerged in pursuit of a new figurative form in late 1970's, and the experimental tendency of a modernism for the period for mid-1960's to mid-1970's. Although concept and formal logic of the Korean hyperrealism painting has a structure of contradiction and irony, the critical criteria or the aesthetic principle surrounding such tendency seem to bear fruits. However, I feel that further discussions would be required to decide on whether such tendency should continue to be named 'hyperrealism painting' or it should be subsumed into the 'neo-figurative painting'.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 극사실주의의 개념과 용어사용 문제
• Ⅲ. 한국 극사실 회화의 세 탄생배경-민전, 국전, 모더니즘
• Ⅳ. 한국 극사실주의 작가들과 비평원리
• Ⅴ. 한국 극사실 회화 연구를 위한 과제
• 참고문헌
• Abstract

참고문헌 (Reference)

1 이동숙, "현대미술에 있어서 극사실주의 회화에 관한 연구" 경기대학교 조형대학원 1997

2 오광수, "한국현대미술 비평사" 미진사 1998

3 오광수, "한국미술의 현장" 조선일보사 1988

4 함양아, "한국 현대회화의 재현적 표현에 관한 연구: 자연주의, 극사실주의, 비판적 사실주의 회화를 중심으로" 서울대학교 대학원 1993

5 김미경, "한국 단색조회화 이후 신형상의 의미" 2002

6 윤난지, "한국 극사실회화의 사실성 담론 in: 한국미술과 사실성" 눈빛 2001

7 오일환, "하이퍼리얼리즘의 특성과 전개양상" 부산대학교 교육대학원

8 서재홍, "하이퍼리얼리즘에 관한 연구" 한남대학교 대학원 1993

9 곽나영, "하이퍼리얼리즘에 관한 연구" 효성가톨릭대학교 대학원 1998

10 남영철, "하이퍼리얼리즘 성립과 전개" 계명대학교 대학원 1986

11 안규철, "우리는 하이퍼의 아류가 아니다" 중앙일보사 1983

12 서성록, "또 하나의 일상: 극사실회화의 어제와 오늘" 성남아트센터 2009

13 이구열, "국전과 민전이 부각시킨 신예들 in: 1970년대 한국미술 - 국전과 민전" 예술의 전당 전시도록 2007

14 김복영, "70-80년대 신형상 회화: 극사실 화화의 기원 in: 사실과 환영: 극사실 회화의 세계" 삼성미술관 2001