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미술사와 내셔널리즘 : 정체성과 보편성의 역학 / 정무정 1

I. 들어가는 말 1

II. 내셔널리즘 이론 3

III. 아시아와 서구미술 6

IV. 미술사 서술과 내셔널리즘 9

V. 나가는 말 14

참고문헌 15

Abstract 16

초록보기

In the Korean art community, Nam June Paik has secured so absolute an position as the creation of ‘Nam June Paik Study’ can be possibly discussed to take its root as a great thinker in the end of the 20th century beyond the assessment as ‘the creator of video art’ or ‘a world avant-garde artist born in Korea.’ However, could it be confidently said that a desire to reveal the potentiality and excellency of Korean art does not twist through his fame behind the praise of Nam June Paik? It is not easy to pick out Korean tradition or national factors based on the artistic foundation of Nam June Paik, who majored in art history and aesthetics at Tokyo University, Japan and modern music at Freiburg Music School and Munchen University, Germany and mainly worked in Europe and in the State. Thus when we look back on the contention of scholars such as Benedict Anderson or Eric Hobsbawm explaining nationalism as ‘imagined community’ or ‘invented tradition’, it can be said not to be unreasonable understanding high compliment of Nam June Paik in the Korea art community as a result of reflection of nationalistic vision.

Then how is the assessment of Nam June Paik in Europe and the States where he mostly worked? The modifier ‘a Korea-born world video artist’ commonly used in the Korean art circles has also been utilized in the western art community, though it is a somewhat transformed form. For example, let’s look into the explanation of Nam June Paik appearing in H. W. Janson’s History of Art, having become the model of the survey of art history and the most widely used art text since it was first published in 1962: “His chief legacy today lies perhaps in the stimulation he provided his many students and collaborators. Among them was Nam June Paik (born 1932). The sophisticated video displays of the Korean-born Paik fall outside the scope of this book.”

In Janson’s text, Nam June Paik is simply mentioned as a witness displaying John Cage’s legacy and an important person of video art going beyond the range of the text. In case of making quite detailed explanation of his video art, Nam June Paik’s biographical background mostly accounts for that part. For example, Laurie Schneider Adams wrote in her book, A History of Western Art as below. “One of the leading exponents of video art is the Korean-born composer, performer, and visual artist Nam June Paik. He studied philosophy, aesthetics, and music at the University of Tokyo, and in 1956 went to Munich to study music. In Germany Paik met the avant-garde musician John Cage and worked with Joseph Beuys. In the late 1960s Paik began to create video sculptures consisting of television monitors arranged in significant shapes.”

What is the reason for that mentioning a nationality or biographical background for non-European artists does not drop out in art history texts? On one hand, it can be considered inevitable due to limit on information and knowledge of non-western culture in this kind of writing. In fact, the author of History of Art wrote in his preface “Why, indeed, should one not include artists who embody very different sensibilities from that of the European and American mainstream? There is, in principle, no reason to exclude them. However, I have decided to limit this edition to Western art for reason both practical and philosophical.” However, on the other hand, it is not unrelated to an attempt to grant an oriental identity to non-western artists. Namely, it is said to be the device of discrimination and elimination trying to typifying and stereotyping non-western artists and having them stay around the marginal of the U. S. art circles. The only inclusion of non-western artists in the category of western art history is that the fantasy of such typifying and stereotyping becomes impossible as Homi Bhabha indicated in his book The Location of Culture. In this sense, Nam June Paik incorporated to western art history is the only Korean artists getting out of a power to confine the other in the symbolic.

This paper explored the relation of art history and nationalism developed in the dynamics of identity and universality through the image of transformed Nam June Paik on both sides of Korean art community and the western art community. I hope this symposium is expected to be a chapter to confirm the looks of various nationalisms reflected in art history and seek the alternatives through articles presented, which can be sub-divisible as discussions of nationalism in historical perspective and nationalism in multi-cultural era.

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기사명 저자명 페이지 원문 목차
한스 메믈링의 <우르술라 성유골함>과 15세기 북유럽의 종교 문화 원희진 pp.9-31

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바르톨로메 무리요의 성 요셉 像을 통해 본 17세기 스페인의 聖俗권력 구조 김병주 pp.33-60

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초현실주의 회화에 나타난 광증의 변용적 수용에 관한 연구 이은주 pp.61-91

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에른스트 루드비히 키르히너의 다보스 후기 작품 연구 이현애 pp.93-119

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올라푸 엘리아슨(Olafur Eliasson)의 작품을 통해 보는 미술의 집단적 체험과 공동체적 소통의 가능성 이지은 pp.121-141

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미술사와 내셔널리즘 :정체성과 보편성의 역학 정무정 pp.145-162

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Nationalist ideals, aesthetic models & the triumph of early Netherlandish painting James Bloom pp.163-186

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르네상스의 混血美術史 :동아시아의 예수회 미술 신준형 pp.187-206

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Marking the age of British national pride :Turner's and his contemporaries' paintings of British industrial and urban scenes made in the decades of the French Wars Yung-yuan Yang pp.207-222

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적에서 동맹으로 :20세기 중반 미국미술 속의 일본 내셔널리즘 조은영 pp.223-250

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Beyond nationalism :an example of Japanese modern art Emiko Yamanashi pp.251-266

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1970년대 이후 한국미술의 내셔널리즘과 미술비평 정헌이 pp.267-291

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The fracturing of globalisation Julian Stallabrass pp.293-308

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참고문헌 (20건) : 자료제공( 네이버학술정보 )

참고문헌 목록에 대한 테이블로 번호, 참고문헌, 국회도서관 소장유무로 구성되어 있습니다.
번호 참고문헌 국회도서관 소장유무
1 Adams, Laurie Schneider, A History of Western Art, New York: McGraw-Hill, 2001. 미소장
2 Anderson, Benedict, Imagined Communities: Reflections on the Origin and Spread of Nationalism, London, 1991. 미소장
3 The Gestalt theory of expression. 네이버 미소장
4 Berenson, Bernard, Aesthetics and History in the Visual Arts, New York: Pantheon, 1948. 미소장
5 Bhabha, Homi K., The Location of Culture, London, 1994. 미소장
6 “Editorial: Toward a New Definition of Chauvinism,” The Art Digest 28/2, October 15, 1953. 미소장
7 Greenberg, Clement, “‘American-Type’ Painting,” Art and Culture, Boston: Beacon Press, 1961. 미소장
8 Greenberg, Clement, “Toward a Newer Laocoon,” In John O’Brian ed., Clement Greenberg: The Collected Essays and Criticism vol. 1, University of Chicago Press, 1986. 미소장
9 Gellner, Ernest, Nations and Nationalism, London, 1994. 미소장
10 Hobsbawm, Eric J., Nations and Nationalism since 1870: Programme, Myth, Reality, London, 1994. 미소장
11 Janson, H.W. and Anthony F. Janson, History of Art, 5th ed. New York: Harry N. Abrams, Inc. 1997. 미소장
12 Lawrence Alloway, “Background to Action: A Series of Six Articles on Post-War Painting,” Art News and Review IX/26, January 18, 1958. 미소장
13 Nationalism, the Jews, and Art History 네이버 미소장
14 Ragon, Michel, “L’Art actuel aux Etats-Unis,” Cimaise VI/3, Jan.-Feb.-Mar. 1959. 미소장
15 Ragon, Michel, “L’ecole de Paris se porte bien,” Cimaise 3/2, December 1955. 미소장
16 A.R.A. News 네이버 미소장
17 A.R.A. News 네이버 미소장
18 A.R.A. News 네이버 미소장
19 “Symposium: Is the French Avant Garde Overrated?,” The Art Digest, 27/20, September 1953. 미소장
20 “Symposium: Is the American Avant Garde Overrated?,” The Art Digest, 28/2, October 15, 1953. 미소장

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