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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2013.12
- 수록면
- 131 - 163 (33page)
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초록· 키워드
오류제보하기
The Korean Women’s Art movement was established in the mid-1980s by a handful of female artists who were conscious of women’s issues. From the working class women’s perspective, they pursued for social acceptance of gender equality and greater political activism from the female community.
The Minjok Misul Association was created as an umbrella organization of the Minjung Art movement of the 1980s. The Women’s Art Division was established under the Minjok Misul Association by 11 female artists in 1986, and renamed the Women’s Art Society in 1988 to clarify its identity as a group which sought for gender equality and social changes from a working class viewpoint.
For 8 years(1987-1994), the members of the Women’s Art Society gave voice to their message through a variety of means to include the 《Women and Reality》 annual provincial exhibition tours, the Gulgai paintings by the “Doonggi” group, and the cartoons by the “Miyal” group. All these works were produced under the title of ‘Women’s Art’. The artists unfolded their activities in affiliation with both radical women’s social movement groups and the Minjung art movement.
By the 1990s, feminist art discourses emphasized postmodern cultural issues resulting in the decreased focus on women’s activism and the working class women’s problems. It has been generally accepted that the Women’s Art Society of the 1980s only scratched the foundational surface of feminist aesthetics, but created the building blocks for the feminist art of the 1990s. Unfortunately, the Women’s Art Society is considered as merely an appendix to the Minjung Art. To make matters worse, the Women’s Art Society has been marginalized by both the feminist discourse of the 1990s and the Minjung Art movement.
I will prove that the Women’s Art Society has been gradually excluded from the history of Korean contemporary art due to the Minjung Art’s community minimizing the Women’s Art Society’s contributions to the Minjung Art’s theories, publications, and exhibitions, and feminists decreasing the importance of the Women’s Art Society.
The Minjok Misul Association was created as an umbrella organization of the Minjung Art movement of the 1980s. The Women’s Art Division was established under the Minjok Misul Association by 11 female artists in 1986, and renamed the Women’s Art Society in 1988 to clarify its identity as a group which sought for gender equality and social changes from a working class viewpoint.
For 8 years(1987-1994), the members of the Women’s Art Society gave voice to their message through a variety of means to include the 《Women and Reality》 annual provincial exhibition tours, the Gulgai paintings by the “Doonggi” group, and the cartoons by the “Miyal” group. All these works were produced under the title of ‘Women’s Art’. The artists unfolded their activities in affiliation with both radical women’s social movement groups and the Minjung art movement.
By the 1990s, feminist art discourses emphasized postmodern cultural issues resulting in the decreased focus on women’s activism and the working class women’s problems. It has been generally accepted that the Women’s Art Society of the 1980s only scratched the foundational surface of feminist aesthetics, but created the building blocks for the feminist art of the 1990s. Unfortunately, the Women’s Art Society is considered as merely an appendix to the Minjung Art. To make matters worse, the Women’s Art Society has been marginalized by both the feminist discourse of the 1990s and the Minjung Art movement.
I will prove that the Women’s Art Society has been gradually excluded from the history of Korean contemporary art due to the Minjung Art’s community minimizing the Women’s Art Society’s contributions to the Minjung Art’s theories, publications, and exhibitions, and feminists decreasing the importance of the Women’s Art Society.
목차
I. 들어가며
II. ‘여성미술’에 관한 페미니즘 비평
III. 민중미술에서 ‘여성미술’의 배제
IV. 글을 마치며
참고문헌
Abstract
참고문헌 (57)
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