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| 005 | 20150924105528 | |
| 008 | 150923s2013 mnua b s001 0 eng d | |
| 010 | ▼a 2013010187 | |
| 020 | ▼a 9780816679874 (hardback) | |
| 020 | ▼a 9780816679881 (pb) | |
| 035 | ▼a (KERIS)REF000017104685 | |
| 040 | ▼a DLC ▼b eng ▼c DLC ▼e rda ▼d DLC ▼d 211009 | |
| 043 | ▼a a-ko--- | |
| 050 | 0 0 | ▼a ND1065.5.M65 ▼b K44 2013 |
| 082 | 0 0 | ▼a 759.95195/09045 ▼2 23 |
| 084 | ▼a 759.953 ▼2 DDCK | |
| 090 | ▼a 759.953 ▼b K26c | |
| 100 | 1 | ▼a Kee, Joan. |
| 245 | 1 0 | ▼a Contemporary Korean Art : ▼b Tansaekhwa and the Urgency of Method / ▼c Joan Kee. |
| 260 | ▼a Minneapolis : ▼b University of Minnesota Press, ▼c c2013. | |
| 300 | ▼a vii, 347 p. : ▼b col. ill. ; ▼c 27 cm. | |
| 504 | ▼a Includes bibliographical references and index. | |
| 520 | ▼a " Starting in the mid-1960s, a group of Korean artists began to push paint, soak canvas, drag pencils, rip paper, and otherwise manipulate the materials of painting in ways that prompted critics to describe their actions as "methods" rather than artworks. A crucial artistic movement of twentieth-century Korea, Tansaekhwa (monochromatic painting) also became one of its most famous and successful. Promoted in Seoul, Tokyo, and Paris, Tansaekhwa grew to be the international face of contemporary Korean art and a cornerstone of contemporary Asian art. In this full-color, richly illustrated account--the first of its kind in English--Joan Kee provides a fresh interpretation of the movement's emergence and meaning that sheds new light on the history of abstraction, twentieth-century Asian art, and contemporary art in general. Combining close readings, archival research, and interviews with leading Tansaekhwa artists, Kee focuses on an essential but often overlooked dimension of the movement: how artists made a case for abstraction as a way for viewers to engage productively with the world and its systems. As Kee shows, artists such as Lee Ufan, Park Seobo, Kwon Young-woo, Yun Hyongkeun, and Ha Chonghyun urgently stressed certain fundamentals, recognizing that overwhelming forces such as decolonization, authoritarianism, and the rise of a new postwar internationalism could be approached through highly individual experiences that challenged viewers to consider how they understood their world rather than why. Against the backdrop of the Cold War, decolonization, and the declaration of martial law in South Korea, these artists asked questions that continue to resonate today: In what ways can art matter to the world? How does art exert agency when its viewers live in times of explicit or implicit duress? How can specific social and political conditions inspire or influence methods and styles? "-- ▼c Provided by publisher. | |
| 650 | 0 | ▼a Tansaekhwa (Art movement). |
| 650 | 0 | ▼a Art and society ▼z Korea (South) ▼x History ▼y 20th century. |
| 945 | ▼a KLPA |
소장정보
| No. | 소장처 | 청구기호 | 등록번호 | 도서상태 | 반납예정일 | 예약 | 서비스 |
|---|---|---|---|---|---|---|---|
| No. 1 | 소장처 중앙도서관/서고7층/ | 청구기호 759.953 K26c | 등록번호 111742181 (10회 대출) | 도서상태 대출가능 | 반납예정일 | 예약 | 서비스 |
컨텐츠정보
책소개
" Starting in the mid-1960s, a group of Korean artists began to push paint, soak canvas, drag pencils, rip paper, and otherwise manipulate the materials of painting in ways that prompted critics to describe their actions as "methods" rather than artworks. A crucial artistic movement of twentieth-century Korea, Tansaekhwa (monochromatic painting) also became one of its most famous and successful. Promoted in Seoul, Tokyo, and Paris, Tansaekhwa grew to be the international face of contemporary Korean art and a cornerstone of contemporary Asian art. In this full-color, richly illustrated account--the first of its kind in English--Joan Kee provides a fresh interpretation of the movement's emergence and meaning that sheds new light on the history of abstraction, twentieth-century Asian art, and contemporary art in general. Combining close readings, archival research, and interviews with leading Tansaekhwa artists, Kee focuses on an essential but often overlooked dimension of the movement: how artists made a case for abstraction as a way for viewers to engage productively with the world and its systems. As Kee shows, artists such as Lee Ufan, Park Seobo, Kwon Young-woo, Yun Hyongkeun, and Ha Chonghyun urgently stressed certain fundamentals, recognizing that overwhelming forces such as decolonization, authoritarianism, and the rise of a new postwar internationalism could be approached through highly individual experiences that challenged viewers to consider how they understood their world rather than why. Against the backdrop of the Cold War, decolonization, and the declaration of martial law in South Korea, these artists asked questions that continue to resonate today: In what ways can art matter to the world? How does art exert agency when its viewers live intimes of explicit or implicit duress? How can specific social and political conditions inspire or influence methods and styles? "--
정보제공 :
목차
Contents Note to Readers Introduction: The Urgency of Method 1. Kwon Young-woo and Yun Hyoungkeun Rethink Painting 2. Rates of Exchange in Ha Chongyun''s "Conjunction "3. Encountering Lee Ufan in Korea and Japan 4. Reading Park Seobo''s "ecriture" in Authoritarian Korea 5. Tansaekhwa and the Idealization of Asian Art Epilogue: The Contextualist Predicament Acknowledgments Appendix: Korean Names and Terms Notes Index