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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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Ever since its outbreak. the Korean War has been the object of scholarly attention to reveal its military, political, diplomatic, and cultural aspects. A recently published book 1he Korean War: Handbook of the Literature and Research (1996) introduces major works on several topics associated with the Korean War. Unfortunately, however, the response of the art world to the war seems to have rarely been discussed. In this paper, I will examine the MOMA’s 1951 exhibition Korea: The Impact of War in Photographs, Pablo Picasso’s Massacre in Korea of 1951 and War of 1952, and David Smith’s Parallel 42 of 1953. Interestingly, these works, all done during the war, reveal polarized attitudes toward it and have a lot to do with the war situation at the moment.
On February 13, 1951, when American forces were struggling to recapture the city of Seoul in Korea, the MOMA opened a photography exhibition entitled Korea: The Impact of War in Photographs with photographs from newspapers and popular magazines which were reporting on the very war on a daily basis. An examination of photographs included in it reveals that the exhibition was filled with scenes of soldiers and civilians dying and wounded, withdrawing and fleeing. In particular, it focuses on the critical moment of the Korean War when MacArthur’s ‘home-by-Christmas’ attack was frustrated, when American forces were forced to withdraw hurriedly to the south. Given that public opinion on the Korean War was getting worse at the moment, the MOMA’s focus on the image of losing American forces can be seen as a way to reveal the sufferings caused by the Chinese Communists, thereby condemning their intervention in Korea and enhancing the public support for the war. It is quite consistent with the past activities of the MOMA that tried to serve as a cultural weapon for national defense and engaged in a number of wartime cultural programs.
Inspired by reports of American atrocities during the Korean War, Pablo Picasso as a declared Communist produced Massacre in Korea which showed a group of naked women and children facing execution by heavily armed soldiers. However, the Communists dismissed the work as ‘politically incorrect’ because they could not ascertain whether the victims were North or South Koreans, and the soldiers were Americans or Chinese. In the
middle of 1952, Picasso again took up the Korean War as his subject for War, thereby making another bid for winning the recognition and approval of the French Communist Party. This time, he carefully brought to the fore two crucial events of the war, which the Communists could exploit as propaganda materials: MacArthur’s “home-by-Christmas” offensive and germ warfare. And the Communists were so satisfied that they hailed it as ‘symbol-studded mural.’
David Smith produced Parallel 42 on 26 February 1953, when the peace talks at Panmunjom, Korea, were at a standstill. Executed in steel, the sculpture shows a small silhouette of the Korean peninsula at top surrounded by a couple of ominously protruding shapes. Considering that the 38th parallel was almost the symbol of the Korean War, Smith’s sudden attention to the 42nd parallel means that he studied the war and sought to address it in his own terms. In this context, it is significant that the 42nd parallel refers to the latitude of the source of the Yalu River. During the Korean War, the Yalu River was frequently associated with aggressiveness of American forces. Thus Smith’s Parallel 42 can be interpreted as an indictment of American forces.
The Korean War was a touchstone by which believers in the two world systems could demonstrate their loyalty and affirm their support of the side they had chosen, or had felt compelled to choose. The art world was no exception to this. Under the intense ideological passions of the Cold War, artists sought to win the sympathy of mankind or to condemn their ideological enemies. Although, for Koreans, it was a total war, for the art world, it was only part of the Cold War.
On February 13, 1951, when American forces were struggling to recapture the city of Seoul in Korea, the MOMA opened a photography exhibition entitled Korea: The Impact of War in Photographs with photographs from newspapers and popular magazines which were reporting on the very war on a daily basis. An examination of photographs included in it reveals that the exhibition was filled with scenes of soldiers and civilians dying and wounded, withdrawing and fleeing. In particular, it focuses on the critical moment of the Korean War when MacArthur’s ‘home-by-Christmas’ attack was frustrated, when American forces were forced to withdraw hurriedly to the south. Given that public opinion on the Korean War was getting worse at the moment, the MOMA’s focus on the image of losing American forces can be seen as a way to reveal the sufferings caused by the Chinese Communists, thereby condemning their intervention in Korea and enhancing the public support for the war. It is quite consistent with the past activities of the MOMA that tried to serve as a cultural weapon for national defense and engaged in a number of wartime cultural programs.
Inspired by reports of American atrocities during the Korean War, Pablo Picasso as a declared Communist produced Massacre in Korea which showed a group of naked women and children facing execution by heavily armed soldiers. However, the Communists dismissed the work as ‘politically incorrect’ because they could not ascertain whether the victims were North or South Koreans, and the soldiers were Americans or Chinese. In the
middle of 1952, Picasso again took up the Korean War as his subject for War, thereby making another bid for winning the recognition and approval of the French Communist Party. This time, he carefully brought to the fore two crucial events of the war, which the Communists could exploit as propaganda materials: MacArthur’s “home-by-Christmas” offensive and germ warfare. And the Communists were so satisfied that they hailed it as ‘symbol-studded mural.’
David Smith produced Parallel 42 on 26 February 1953, when the peace talks at Panmunjom, Korea, were at a standstill. Executed in steel, the sculpture shows a small silhouette of the Korean peninsula at top surrounded by a couple of ominously protruding shapes. Considering that the 38th parallel was almost the symbol of the Korean War, Smith’s sudden attention to the 42nd parallel means that he studied the war and sought to address it in his own terms. In this context, it is significant that the 42nd parallel refers to the latitude of the source of the Yalu River. During the Korean War, the Yalu River was frequently associated with aggressiveness of American forces. Thus Smith’s Parallel 42 can be interpreted as an indictment of American forces.
The Korean War was a touchstone by which believers in the two world systems could demonstrate their loyalty and affirm their support of the side they had chosen, or had felt compelled to choose. The art world was no exception to this. Under the intense ideological passions of the Cold War, artists sought to win the sympathy of mankind or to condemn their ideological enemies. Although, for Koreans, it was a total war, for the art world, it was only part of the Cold War.
목차
1. 서언
2. 한국전쟁과 뉴욕근대미술관
3. 한국전쟁과 파블로 피카소
4. 한국전쟁과 데이비드 스미스
5. 결언
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Abstract
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