Pub Date : 2021-01-15DOI: 10.1080/17561310.2020.1876823
I. Mereuţă, Jozefína Komporaly
Abstract A short review of an exhibition of contemporary US posters held at the American Library, Bucharest, in 1975. The works on display are praised by the author, Iulian Mereuţă, both for their innovate qualities and technical accomplishment.
{"title":"The American Poster","authors":"I. Mereuţă, Jozefína Komporaly","doi":"10.1080/17561310.2020.1876823","DOIUrl":"https://doi.org/10.1080/17561310.2020.1876823","url":null,"abstract":"Abstract A short review of an exhibition of contemporary US posters held at the American Library, Bucharest, in 1975. The works on display are praised by the author, Iulian Mereuţă, both for their innovate qualities and technical accomplishment.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"341 - 344"},"PeriodicalIF":0.0,"publicationDate":"2021-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1876823","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44500891","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 : 2021-01-13DOI: 10.1080/17561310.2021.1876793
Maurizio Calvesi, Madeline Robinson
Abstract In this text, Maurizio Calvesi, a leading interpreter in the 1960s of contemporary American Pop art for the Italian audience, challenges the common European reading of Pop art as a negative critique of US capitalist society. He argues that Pop art does not represent a “true” reality, but rather mimics a new process of image production. For this reason, he refers particularly to transactional psychology in order to explain the works of Jasper Johns and Roy Lichtenstein, and proposes a positive alternative to the usual focus on the consumerist iconography of Pop art.
{"title":"Recognition and Reportage","authors":"Maurizio Calvesi, Madeline Robinson","doi":"10.1080/17561310.2021.1876793","DOIUrl":"https://doi.org/10.1080/17561310.2021.1876793","url":null,"abstract":"Abstract In this text, Maurizio Calvesi, a leading interpreter in the 1960s of contemporary American Pop art for the Italian audience, challenges the common European reading of Pop art as a negative critique of US capitalist society. He argues that Pop art does not represent a “true” reality, but rather mimics a new process of image production. For this reason, he refers particularly to transactional psychology in order to explain the works of Jasper Johns and Roy Lichtenstein, and proposes a positive alternative to the usual focus on the consumerist iconography of Pop art.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"302 - 308"},"PeriodicalIF":0.0,"publicationDate":"2021-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2021.1876793","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48586781","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 : 2020-10-01DOI: 10.1080/17561310.2020.1899430
J. Lee
Abstract Lee Jung-Seob (1916–1956) cultivated his artistic talent in the dynamic and progressive environment of Pyongyang and Tokyo during the Japanese colonial period (1910–45), presenting expressionistic paintings of bulls, experimental tinfoil drawings, and playful illustrations, filled with animistic symbolism and Surrealist local style. He always yearned to paint a large-scale masterpiece like a mural but could not achieve this goal in the turmoil of the Korean War (1950–53) and its aftermath. This paper explores the seeds and traces of Lee’s unfulfilled desire to create a monumental mural painting in the context of global art in modern Korea.
{"title":"Excavating the Mural of Paradise by Lee Jung-Seob","authors":"J. Lee","doi":"10.1080/17561310.2020.1899430","DOIUrl":"https://doi.org/10.1080/17561310.2020.1899430","url":null,"abstract":"Abstract Lee Jung-Seob (1916–1956) cultivated his artistic talent in the dynamic and progressive environment of Pyongyang and Tokyo during the Japanese colonial period (1910–45), presenting expressionistic paintings of bulls, experimental tinfoil drawings, and playful illustrations, filled with animistic symbolism and Surrealist local style. He always yearned to paint a large-scale masterpiece like a mural but could not achieve this goal in the turmoil of the Korean War (1950–53) and its aftermath. This paper explores the seeds and traces of Lee’s unfulfilled desire to create a monumental mural painting in the context of global art in modern Korea.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"469 - 488"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1899430","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43811010","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 : 2020-10-01DOI: 10.1080/17561310.2021.1899432
Young Ji Lee
Abstract This article scrutinizes the roles of mobile individuals in the geopolitical formation of North Korean art in the mid-1950s. The networks of Pen Varlen (1916–1990), a visitor from the Soviet Union, and his colleagues in North Korea exemplify how the international travels and connections of these ethnic Korean artists reconfigured postcolonial Korean art to construct a new socialist art. The article examines how the codes of Soviet Socialist Realism became transferable, communicable, and adaptable by Pen and his circle in North Korea and how their relation to the Soviet Union shaped a new identity for national art.
{"title":"Building North Korean Art: Pen Varlen/Pyŏn Wŏllyong and Ethnic Networks amid the Cold War","authors":"Young Ji Lee","doi":"10.1080/17561310.2021.1899432","DOIUrl":"https://doi.org/10.1080/17561310.2021.1899432","url":null,"abstract":"Abstract This article scrutinizes the roles of mobile individuals in the geopolitical formation of North Korean art in the mid-1950s. The networks of Pen Varlen (1916–1990), a visitor from the Soviet Union, and his colleagues in North Korea exemplify how the international travels and connections of these ethnic Korean artists reconfigured postcolonial Korean art to construct a new socialist art. The article examines how the codes of Soviet Socialist Realism became transferable, communicable, and adaptable by Pen and his circle in North Korea and how their relation to the Soviet Union shaped a new identity for national art.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"489 - 509"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2021.1899432","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49109915","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 : 2020-10-01DOI: 10.1080/17561310.2020.1899425
Suzie Kim
Abstract Yoo Youngkuk (1916–2002) was one of Korea’s leading avant-garde artists who initiated the Korean modern art scene through his abstract landscape paintings. Much of his oeuvre centered on one major subject that Yoo favored throughout his life: the Korean mountains. By examining Yoo’s preoccupation with the depiction of mountain chains and his commitment to promoting progressive art groups dedicated to abstraction in Korea, this paper examines how the artist, inspired by both local traditions and Euro-Japanese Modernism, distilled the intractable beauty of Korean mountains to essential forms and colors. Yoo’s works came to constitute a visual manifestation of Korean lyricism.
{"title":"Abstraction Meets Korean Lyricism: Yoo Youngkuk’s Mountain Series in Postwar Korea","authors":"Suzie Kim","doi":"10.1080/17561310.2020.1899425","DOIUrl":"https://doi.org/10.1080/17561310.2020.1899425","url":null,"abstract":"Abstract Yoo Youngkuk (1916–2002) was one of Korea’s leading avant-garde artists who initiated the Korean modern art scene through his abstract landscape paintings. Much of his oeuvre centered on one major subject that Yoo favored throughout his life: the Korean mountains. By examining Yoo’s preoccupation with the depiction of mountain chains and his commitment to promoting progressive art groups dedicated to abstraction in Korea, this paper examines how the artist, inspired by both local traditions and Euro-Japanese Modernism, distilled the intractable beauty of Korean mountains to essential forms and colors. Yoo’s works came to constitute a visual manifestation of Korean lyricism.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"448 - 468"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1899425","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46449076","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 : 2020-10-01DOI: 10.1080/17561310.2020.1899417
Young ji Lee, Suzie Kim
{"title":"The Individual as a Site of Modernity and the Transnational Webs of Modern Art","authors":"Young ji Lee, Suzie Kim","doi":"10.1080/17561310.2020.1899417","DOIUrl":"https://doi.org/10.1080/17561310.2020.1899417","url":null,"abstract":"","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"403 - 406"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1899417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41869501","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 : 2020-10-01DOI: 10.1080/17561310.2020.1899420
Jinyoung Jin
Abstract The article presents a comprehensive and novel look at the Korean painter Lee Quede (1913–1965), with particular emphasis on his People series (1948). Lee’s work draws direct influence from Kitagawa Tamiji, Diego Rivera, Mexican Muralism, and Social Realism. Most importantly, it decries the atrocities committed against the politically disenfranchised in postliberation Korea and serves as a visual representation of historical truth. This article challenges established categories in the field of art history, addressing historically neglected topics and looking at how Lee addresses the lives of Korean civilians and the political conditions of 1948.
{"title":"Lee Quede: Massacres in 1948 and the Influence of Diego Rivera","authors":"Jinyoung Jin","doi":"10.1080/17561310.2020.1899420","DOIUrl":"https://doi.org/10.1080/17561310.2020.1899420","url":null,"abstract":"Abstract The article presents a comprehensive and novel look at the Korean painter Lee Quede (1913–1965), with particular emphasis on his People series (1948). Lee’s work draws direct influence from Kitagawa Tamiji, Diego Rivera, Mexican Muralism, and Social Realism. Most importantly, it decries the atrocities committed against the politically disenfranchised in postliberation Korea and serves as a visual representation of historical truth. This article challenges established categories in the field of art history, addressing historically neglected topics and looking at how Lee addresses the lives of Korean civilians and the political conditions of 1948.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"427 - 447"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1899420","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46972986","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 : 2020-10-01DOI: 10.1080/17561310.2020.1901332
Jiyeon Kim
Abstract This paper explores the shifting self-image of Ko Hŭi-dong (1886 − 1965), best-known as the first Western-style painter of Korea, and rethinks the meaning of Ko’s ink paintings beyond the medium-based bifurcation. The individually constructed self-images of the artist’s early oil portraits are reconfigured in his ink paintings, when his perspective shifted, to embrace the network of his circle of friends. Ko’s new interest in communal identity is reflected in these seemingly traditional depictions of “elegant gatherings,” where his initial struggle to define his self-identity gives way to an effort to locate himself in another modern space of colonial Korea.
{"title":"Towards Communal Identity: Shifting Self-Image in Ko Hŭi-dong’s Paintings","authors":"Jiyeon Kim","doi":"10.1080/17561310.2020.1901332","DOIUrl":"https://doi.org/10.1080/17561310.2020.1901332","url":null,"abstract":"Abstract This paper explores the shifting self-image of Ko Hŭi-dong (1886 − 1965), best-known as the first Western-style painter of Korea, and rethinks the meaning of Ko’s ink paintings beyond the medium-based bifurcation. The individually constructed self-images of the artist’s early oil portraits are reconfigured in his ink paintings, when his perspective shifted, to embrace the network of his circle of friends. Ko’s new interest in communal identity is reflected in these seemingly traditional depictions of “elegant gatherings,” where his initial struggle to define his self-identity gives way to an effort to locate himself in another modern space of colonial Korea.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"407 - 426"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1901332","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43928409","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 : 2020-10-01DOI: 10.1080/17561310.2020.1915347
Sunglim Kim
Abstract Seundja Rhee (1918–2009), celebrated in Korea and France, has remained largely unknown elsewhere. However, in the history of Korean women artists, especially those active abroad, she takes a remarkable place with achievements deserving reconsideration. Her six-decade career covered very distinctive stylistic periods, which she named: Figurative (1954–1956), Abstract (1957–1960), Woman and Earth (1961–1968), Superimposition (1969–1971), City (1972–1974), Yin and Yang (1975–1976), Nature (1977–1979), Road to the Antipodes (1980–1994), and Cosmos (1995–2008). This article groups Rhee’s oeuvre into four broader phases and examines her artistic development and life story.
{"title":"The Aesthetic Journey of Seundja Rhee: From Earth to Cosmos","authors":"Sunglim Kim","doi":"10.1080/17561310.2020.1915347","DOIUrl":"https://doi.org/10.1080/17561310.2020.1915347","url":null,"abstract":"Abstract Seundja Rhee (1918–2009), celebrated in Korea and France, has remained largely unknown elsewhere. However, in the history of Korean women artists, especially those active abroad, she takes a remarkable place with achievements deserving reconsideration. Her six-decade career covered very distinctive stylistic periods, which she named: Figurative (1954–1956), Abstract (1957–1960), Woman and Earth (1961–1968), Superimposition (1969–1971), City (1972–1974), Yin and Yang (1975–1976), Nature (1977–1979), Road to the Antipodes (1980–1994), and Cosmos (1995–2008). This article groups Rhee’s oeuvre into four broader phases and examines her artistic development and life story.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"510 - 530"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1915347","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49405884","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 : 2020-07-03DOI: 10.1080/17561310.2020.1769922
Kunstbüchlin gerechten gründtlichen Gebrauchs aller kunstbaren Werckleut
The Frankfurt Kunstbuchlin is a handbook for a wide range of professions and crafts, such as metalwork (etching, alloying, gilding) and the production of colors for dyeing clothes and painting. Pri...
{"title":"Handbook of Skills: For Just and Thorough Use by All Craftsmen in the Arts","authors":"Kunstbüchlin gerechten gründtlichen Gebrauchs aller kunstbaren Werckleut","doi":"10.1080/17561310.2020.1769922","DOIUrl":"https://doi.org/10.1080/17561310.2020.1769922","url":null,"abstract":"The Frankfurt Kunstbuchlin is a handbook for a wide range of professions and crafts, such as metalwork (etching, alloying, gilding) and the production of colors for dyeing clothes and painting. Pri...","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"4-70"},"PeriodicalIF":0.0,"publicationDate":"2020-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1769922","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60396435","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：