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초록·키워드
The newly acquired American economic and political power after WWII played a substantial role in promoting Abstract Expressionism. Although American Abstract Expressionist style was introduced to Korea as a cultural signifier of freedom, sovereignty, democracy, modernity, and capitalism, a new abstraction in Korea was to be called Informel, named after French Art Informel. The focal point of this paper is the ambivalent term Informel, which was taken to name the first Korean avant-garde art, which had the burden of decolonization and modernization. Come as a belated form of modern art, it was not until the 1960s when the term Informel was officially used to describe the new Korean art. The term Informel provides a productive space to investigate the development of Korean avant-garde art in a space of ‘time-lag.’ Korean Informel implies the gap between the original formation of American Abstract Expressionism in the 1940s and the local reception of it in Korea in the 1950s. The course of the Korean artists’ adoption of western avant-garde does not complete a universal history of modernization naturally progressed through a ‘homogenous time.’ By tracing the apparently incoherent course of ‘cultural translation,’ this paper argues that Informel reveals the uneasy course of the formation of the first Korean avantgarde art.
As to the Korean reception of Abstract Expressionism, questions can be posed whether it was a deflection of the formalist Modernist aesthetic, or an eclectic reception of its alternatives. Clement Greenberg’s aesthetic autonomy was absent in the discussion of Korean art critics and artists upon their reception of the new abstract art. Instead, Korean artists and art critics referred to Harold Rosenberg’s concept of ‘Action Painting’ and Michel Tapie’s ‘art autre.’ This paper argues that Korean artists decoded the cultural sign of Abstract Expressionism and negotiated with the dominant art form in their particular cultural and political milieu. Korean avant-garde artists sought an innovative style, which would help dismantle the unwanted colonial past by searching out a new way to express their pathos.
As to the Korean reception of Abstract Expressionism, questions can be posed whether it was a deflection of the formalist Modernist aesthetic, or an eclectic reception of its alternatives. Clement Greenberg’s aesthetic autonomy was absent in the discussion of Korean art critics and artists upon their reception of the new abstract art. Instead, Korean artists and art critics referred to Harold Rosenberg’s concept of ‘Action Painting’ and Michel Tapie’s ‘art autre.’ This paper argues that Korean artists decoded the cultural sign of Abstract Expressionism and negotiated with the dominant art form in their particular cultural and political milieu. Korean avant-garde artists sought an innovative style, which would help dismantle the unwanted colonial past by searching out a new way to express their pathos.
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UCI(KEPA) : I410-ECN-0101-2014-600-000632489
