Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2163088
Jin Seop Yun
Abstract In this article, the author argues that the Korean art movements of the 1990s sustained their subversive potential as avant-garde impulses because they were not commercialized, unlike those in the Western world. In particular, the author critically supports such young artists’ groups as Golden Apple and Museum, in which the now globally renowned artists, Choi Jeong-hwa and Lee Bul, participated as inaugural members. The prevalent sense of defeatism, lewdness, and irrationality that resided in the works of these younger generation artists, the author argues, innately resisted interpretation, and this became the crucial elements in appraising Korean postmodernism.
{"title":"The Absence of ‘Truth’ and Solving the Maze: One Perspective on Postmodernism in Korea","authors":"Jin Seop Yun","doi":"10.1080/17561310.2022.2163088","DOIUrl":"https://doi.org/10.1080/17561310.2022.2163088","url":null,"abstract":"Abstract In this article, the author argues that the Korean art movements of the 1990s sustained their subversive potential as avant-garde impulses because they were not commercialized, unlike those in the Western world. In particular, the author critically supports such young artists’ groups as Golden Apple and Museum, in which the now globally renowned artists, Choi Jeong-hwa and Lee Bul, participated as inaugural members. The prevalent sense of defeatism, lewdness, and irrationality that resided in the works of these younger generation artists, the author argues, innately resisted interpretation, and this became the crucial elements in appraising Korean postmodernism.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"410 - 420"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48275053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2163089
Sung Wan-kyung, Jeong Ji-chang, Shim Kwang-Hyun
Abstract This is a round-table discussion among Sung Wan-kyung, a leading critic of the leftist art movement, Jung Jichang, a scholar of German literature and theater, and art critic Shim Gwanghyun. It was part of a special event that the monthly art magazine Gana Art organized in order to examine “the art of the third world.” Especially for the artists and critics in the Minjung misul (people’s art) movement, the idea of Korea as a third world nation was crucial in the discourse of the socio-politically unique condition of Korea in the mid-twentieth century. The participants share a common concern about “postmodernism,” as a Western oriented theory and phenomenon, that could possibly eliminate such politically specific principles and historically unique cultures.
{"title":"Round Table Discussion: Third World Art’s Reception and Mission","authors":"Sung Wan-kyung, Jeong Ji-chang, Shim Kwang-Hyun","doi":"10.1080/17561310.2022.2163089","DOIUrl":"https://doi.org/10.1080/17561310.2022.2163089","url":null,"abstract":"Abstract This is a round-table discussion among Sung Wan-kyung, a leading critic of the leftist art movement, Jung Jichang, a scholar of German literature and theater, and art critic Shim Gwanghyun. It was part of a special event that the monthly art magazine Gana Art organized in order to examine “the art of the third world.” Especially for the artists and critics in the Minjung misul (people’s art) movement, the idea of Korea as a third world nation was crucial in the discourse of the socio-politically unique condition of Korea in the mid-twentieth century. The participants share a common concern about “postmodernism,” as a Western oriented theory and phenomenon, that could possibly eliminate such politically specific principles and historically unique cultures.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"421 - 440"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41547678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2163090
Mo Bahc
Abstract The author explicates various contexts of postmodern discourses in the West, as an effort to position Korean art and society within a ‘proper’ context of postmodernism. The author provides four categories of postmodernism 1) theory in American literature, 2) theory in art and architecture, 3) post-structuralist philosophy, 4) a symptom of post-industrial society. The author emphasizes Korea’s current status as “a third world nation” under a military dictatorship, and argues, therefore, that Korean art and culture cannot abandon humanist values and enlightenment ideals, because it is yet to resolve the problems of national division, class conflict, an authoritarian nation-state, and the cultural imperialism of the West.
{"title":"The Meaning of Postmodernism and Korean Art","authors":"Mo Bahc","doi":"10.1080/17561310.2022.2163090","DOIUrl":"https://doi.org/10.1080/17561310.2022.2163090","url":null,"abstract":"Abstract The author explicates various contexts of postmodern discourses in the West, as an effort to position Korean art and society within a ‘proper’ context of postmodernism. The author provides four categories of postmodernism 1) theory in American literature, 2) theory in art and architecture, 3) post-structuralist philosophy, 4) a symptom of post-industrial society. The author emphasizes Korea’s current status as “a third world nation” under a military dictatorship, and argues, therefore, that Korean art and culture cannot abandon humanist values and enlightenment ideals, because it is yet to resolve the problems of national division, class conflict, an authoritarian nation-state, and the cultural imperialism of the West.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"441 - 466"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48035228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2163085
Shim Kwang-Hyun
Abstract Written as a response to Seo Seongrok’s criticism of Minjung misul and its theory of social realism, this article warns of the danger of postmodernism from the West, especially its call for deconstruction of subject and its denial of social totality. The author believes that such attitudes can result in anarchism, extreme individualism, and even nihilism. The author defends social realism by arguing that questions of forms, styles, and art medium remain secondary to the grand principle of the independent development of national art for the Minjung misul (people’s art) movement.
{"title":"A Neutral Ideology of De-Modernists","authors":"Shim Kwang-Hyun","doi":"10.1080/17561310.2022.2163085","DOIUrl":"https://doi.org/10.1080/17561310.2022.2163085","url":null,"abstract":"Abstract Written as a response to Seo Seongrok’s criticism of Minjung misul and its theory of social realism, this article warns of the danger of postmodernism from the West, especially its call for deconstruction of subject and its denial of social totality. The author believes that such attitudes can result in anarchism, extreme individualism, and even nihilism. The author defends social realism by arguing that questions of forms, styles, and art medium remain secondary to the grand principle of the independent development of national art for the Minjung misul (people’s art) movement.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"392 - 397"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44393075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2163086
Lee Jae-eon
Abstract In this article, the author first provides a chronology of Korean modern art, in which the modernization of every sector of Korean society is intricately entangled with struggles in regards to Westernization and the anxieties of colonialism. As a result, he points out that the ‘Korean’ aesthetics of Dansaekhwa were discursively constructed by Japanese scholars from the colonial era. Instead of readily utilizing the term ‘postmodernism’ in articulating the younger artists’ rebellion against Dansaekhwa, therefore, the author uses ‘anti-modernism (ban-modeon)’ and ‘de-modern (tal-modeon)’ as the prevailing attitude of the 1980’s art of Minjung misul and of the new figurative paintings.
{"title":"De-Modernization and the Search in the Transition Period","authors":"Lee Jae-eon","doi":"10.1080/17561310.2022.2163086","DOIUrl":"https://doi.org/10.1080/17561310.2022.2163086","url":null,"abstract":"Abstract In this article, the author first provides a chronology of Korean modern art, in which the modernization of every sector of Korean society is intricately entangled with struggles in regards to Westernization and the anxieties of colonialism. As a result, he points out that the ‘Korean’ aesthetics of Dansaekhwa were discursively constructed by Japanese scholars from the colonial era. Instead of readily utilizing the term ‘postmodernism’ in articulating the younger artists’ rebellion against Dansaekhwa, therefore, the author uses ‘anti-modernism (ban-modeon)’ and ‘de-modern (tal-modeon)’ as the prevailing attitude of the 1980’s art of Minjung misul and of the new figurative paintings.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"398 - 409"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45051516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-16DOI: 10.1080/17561310.2022.2085458
C. Hopkins, Stefana Djokic
{"title":"Editorial: Pop Art. Imitation, Translation, Transcreation.","authors":"C. Hopkins, Stefana Djokic","doi":"10.1080/17561310.2022.2085458","DOIUrl":"https://doi.org/10.1080/17561310.2022.2085458","url":null,"abstract":"","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"103 - 107"},"PeriodicalIF":0.0,"publicationDate":"2022-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44360381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-14DOI: 10.1080/17561310.2022.2096347
Javier Ortiz-Echagüe
Abstract During the Cold War Picasso’s Guernica was on loan at the Museum of Modern Art in New York. Throughout this period, its interpretation was the subject of much debate. The museum was interested in situating the painting within its own narrative of twentieth-century art history, while, at the same time, the painting functioned as an icon in contemporary political struggles in the form of reproductions and pictorial versions. This article reviews some of these contradictory positions towards Picasso’s work during this intense “battle for the interpretation”.
{"title":"Mission Impossible: Guernica. The Battle for the Interpretation of Picasso’s Work during the Cold War","authors":"Javier Ortiz-Echagüe","doi":"10.1080/17561310.2022.2096347","DOIUrl":"https://doi.org/10.1080/17561310.2022.2096347","url":null,"abstract":"Abstract During the Cold War Picasso’s Guernica was on loan at the Museum of Modern Art in New York. Throughout this period, its interpretation was the subject of much debate. The museum was interested in situating the painting within its own narrative of twentieth-century art history, while, at the same time, the painting functioned as an icon in contemporary political struggles in the form of reproductions and pictorial versions. This article reviews some of these contradictory positions towards Picasso’s work during this intense “battle for the interpretation”.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"204 - 225"},"PeriodicalIF":0.0,"publicationDate":"2022-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45972879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-26DOI: 10.1080/17561310.2022.2099089
J. Bailey
Abstract This essay examines the strategies used by artists in the Soviet Union to access censored publications about contemporary American art between the 1950s and 1980s. It weaves together the personal recollections of artists associated with Moscow Conceptualism to consider the effect that smuggled or secretly reproduced texts and images had on those among whom they were circulated. The essay explores how the literal and metaphorical translation of artistic concepts into an environment with a contrasting normative background destabilized what is often assumed to be an instance of unidirectional West-to-East influence, with experiences such as misunderstanding and self-exoticization provoking new creative possibilities.
{"title":"Moscow Conceptualism and the (Mis)Translation of American Art","authors":"J. Bailey","doi":"10.1080/17561310.2022.2099089","DOIUrl":"https://doi.org/10.1080/17561310.2022.2099089","url":null,"abstract":"Abstract This essay examines the strategies used by artists in the Soviet Union to access censored publications about contemporary American art between the 1950s and 1980s. It weaves together the personal recollections of artists associated with Moscow Conceptualism to consider the effect that smuggled or secretly reproduced texts and images had on those among whom they were circulated. The essay explores how the literal and metaphorical translation of artistic concepts into an environment with a contrasting normative background destabilized what is often assumed to be an instance of unidirectional West-to-East influence, with experiences such as misunderstanding and self-exoticization provoking new creative possibilities.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"108 - 141"},"PeriodicalIF":0.0,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44977875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-26DOI: 10.1080/17561310.2022.2085465
Marisa Volpi Orlandini
Abstract The translated text is the introductory chapter in Marisa Volpi Orlando’s book Arte dopo il 1945, U.S.A. (1969). This was the first Italian-language survey book of American art after the Second World War. It was the outcome of the writer’s firsthand experience of American art and culture during her extended visit to the US in 1966. Volpi's text should be read with Silvia Bottinelli's essay on Volpi, published in this volume.
摘要译文是Marisa Volpi Orlando的书《Arte dopo il 1945，U.s.A.》（1969）的引言部分。这是第二次世界大战后第一本关于美国艺术的意大利语调查书。这是作者在1966年长期访问美国期间对美国艺术和文化的亲身体验的结果。Volpi的文本应该与Silvia Bottinelli在本卷中发表的关于Volpi的文章一起阅读。
{"title":"Introduction to Art after 1945, USA","authors":"Marisa Volpi Orlandini","doi":"10.1080/17561310.2022.2085465","DOIUrl":"https://doi.org/10.1080/17561310.2022.2085465","url":null,"abstract":"Abstract The translated text is the introductory chapter in Marisa Volpi Orlando’s book Arte dopo il 1945, U.S.A. (1969). This was the first Italian-language survey book of American art after the Second World War. It was the outcome of the writer’s firsthand experience of American art and culture during her extended visit to the US in 1966. Volpi's text should be read with Silvia Bottinelli's essay on Volpi, published in this volume.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"185 - 190"},"PeriodicalIF":0.0,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47082978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-26DOI: 10.1080/17561310.2022.2085466
Marisa Volpi Orlandini
Abstract Marisa Volpi Orlando’s Arte dopo il 1945, U.S.A. (1969) was the first Italian-language survey book of American art after the Second World War. In this chapter she discusses Pop art and introduces key artists (such as Robert Rauschenberg, Cy Twombly, Jasper Johns, Andy Warhol, Roy Lichtenstein, and Claes Oldenburg), influential anglophone critics (such as Leslie Fiedler, Lawrence Alloway, Alan Solomon and others) and galleries (Leo Castelli). The translation should be read with Silvia Bottinelli's essay on Volpi, published in this volume.
摘要Marisa Volpi Orlando的《Arte dopo il 1945，U.s.A.》（1969）是第二次世界大战后第一本关于美国艺术的意大利语调查书。在本章中，她讨论了波普艺术，并介绍了主要艺术家（如Robert Rauschenberg、Cy Twombly、Jasper Johns、Andy Warhol、Roy Lichtenstein和Claes Oldenburg）、有影响力的英语评论家（如Leslie Fiedler、Lawrence Alloway、Alan Solomon等人）和画廊（Leo Castelli）。译文应与西尔维娅·博蒂内利（Silvia Bottinelli）在本卷中发表的关于Volpi的文章一起阅读。
{"title":"Pop Art","authors":"Marisa Volpi Orlandini","doi":"10.1080/17561310.2022.2085466","DOIUrl":"https://doi.org/10.1080/17561310.2022.2085466","url":null,"abstract":"Abstract Marisa Volpi Orlando’s Arte dopo il 1945, U.S.A. (1969) was the first Italian-language survey book of American art after the Second World War. In this chapter she discusses Pop art and introduces key artists (such as Robert Rauschenberg, Cy Twombly, Jasper Johns, Andy Warhol, Roy Lichtenstein, and Claes Oldenburg), influential anglophone critics (such as Leslie Fiedler, Lawrence Alloway, Alan Solomon and others) and galleries (Leo Castelli). The translation should be read with Silvia Bottinelli's essay on Volpi, published in this volume.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"191 - 203"},"PeriodicalIF":0.0,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43487300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：