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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.
초록· 키워드
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The world has changed rapidly since the age of science began, and change in the art world and production of artworks has since been strongly felt. As rime-honored religious values of artworks gave way to values of display, art broke from fetishism and the pursuit of ritual values and started to assume societal, political, and recreational functions. Entering modern times, art aggressively attempted to involve itself in social and political issues. Art started to address trivial things, giving emphasis to 'spiritual recreational dispersed perceptions' beyond concentrated, meditative, and implied accommodation of art. It was only natural thar art should eventually deal increasingly with reality. People began to consider art important as historical and personal evidence, rather than for worship.
Just as the concept of the fine arts and of the arts change, the functions and culture of art museums are undergoing significant changes. According to a study conducted by the Korea Culture and Tourism Policy Institute (Policy Initiative 2007-17), "the paradigm of art museums in the 21st century is expected to shift from relics to experiences, from preservation to education, from enlightenment to edutainment (a combination of education and entertainment) where play as well as learning are pursued, from supplier-driven to user-driven, from country-driven to region-focused, from standardization to differentiation, from off-line to incorporating online, from bureaucracy to streamlined business management, from scholar-driven to specialist-driven, and from the accumulation of memories to the creation of future." In the art museums of advanced nations, there have been studies and initiatives since the early 1990s aimed at stepping beyond the exhibition-oriented functions of art museums and creating a new and inclusive culture for these institutions. In addition, the "Open Museum, Art School" movement, which aims at introducing the art culture of other countries in addition to the local art culture, is spreading globally. Accordingly, we are at a point in time when proactive on/off-line networking with public and private art museums at home and abroad, art museums' own efforts to improve their soundness and aggressive survival strategies are required.
Contacts and exchanges among domestic local art museums and similar exchanges with art museums overseas are increasing significantly and steadily. Moreover, their necessity is increasing irrespective to art museums in the East and the West. In Asia, various infrastructures, including art museums, artists and art museum culture, are available. It is high time for active discussions and cooperation within a pan-Asian networking to systematically assemble these multiple cultural infrastructures.
There exists a term glocalization, which is a synthesis of 'global' and 'localization', meaning the global world is being localized and local areas are being globalized. Although the term itself may not be familiar, it does not appear so odd as our daily lives are engulfed by high speed and super-high speed. Just as with the environment around us, global features are found in art. They include abstractive expressionism following the World War Ⅱ in the 1950s and 1960s, minimal art and conceptual art up until the 1970s, neo-expressionism in the 1980s and video and installation works in the 1990s. Just as contemporary art after Impressionism, they underwent constant dialectic changes in style and innovation according to the circumstances of the times. That is, they incorporated historic features such as amplify and the repudiation of tradition, repeat, critical support and self-criticism based on avant-garde approaches.
Neo-expressionism drew attention through the determination of the world's painting circles to overcome excessively ascetic and conceptual art in the 1970s and new attempts to break away from the generally sluggish artistic community and began to appear on the international stage around the mid-to late-1980s. At that time, the works of artists featured primarily new painting. Meeting the market's expectations for new changes, they placed themselves among the global ranks in the 1990s.
Whatever the case, future artworks can be largely divided into two groups: those made of state-of-art materials and techniques, and those which depict reality within the boundary of traditional painting methods or production methods and language inherent to the relevant art genre. I think art will develop in these two directions for quite some time. Of course, the topics of art mayor may not be same.
In this world in which diversity and individuality are to be preserved all at the same time, if you are not too stupid, you will never say that truth is absolute or truth is one. Entering into modern civilized society, we began to understand rules inherent to history and society that had not been known previously, and from this point gained a new understanding about human beings. Young artists have recently begun to more aggressively question what societal and historical environmental rules dominate.
After all, what should we question and contemplate?
Just as the concept of the fine arts and of the arts change, the functions and culture of art museums are undergoing significant changes. According to a study conducted by the Korea Culture and Tourism Policy Institute (Policy Initiative 2007-17), "the paradigm of art museums in the 21st century is expected to shift from relics to experiences, from preservation to education, from enlightenment to edutainment (a combination of education and entertainment) where play as well as learning are pursued, from supplier-driven to user-driven, from country-driven to region-focused, from standardization to differentiation, from off-line to incorporating online, from bureaucracy to streamlined business management, from scholar-driven to specialist-driven, and from the accumulation of memories to the creation of future." In the art museums of advanced nations, there have been studies and initiatives since the early 1990s aimed at stepping beyond the exhibition-oriented functions of art museums and creating a new and inclusive culture for these institutions. In addition, the "Open Museum, Art School" movement, which aims at introducing the art culture of other countries in addition to the local art culture, is spreading globally. Accordingly, we are at a point in time when proactive on/off-line networking with public and private art museums at home and abroad, art museums' own efforts to improve their soundness and aggressive survival strategies are required.
Contacts and exchanges among domestic local art museums and similar exchanges with art museums overseas are increasing significantly and steadily. Moreover, their necessity is increasing irrespective to art museums in the East and the West. In Asia, various infrastructures, including art museums, artists and art museum culture, are available. It is high time for active discussions and cooperation within a pan-Asian networking to systematically assemble these multiple cultural infrastructures.
There exists a term glocalization, which is a synthesis of 'global' and 'localization', meaning the global world is being localized and local areas are being globalized. Although the term itself may not be familiar, it does not appear so odd as our daily lives are engulfed by high speed and super-high speed. Just as with the environment around us, global features are found in art. They include abstractive expressionism following the World War Ⅱ in the 1950s and 1960s, minimal art and conceptual art up until the 1970s, neo-expressionism in the 1980s and video and installation works in the 1990s. Just as contemporary art after Impressionism, they underwent constant dialectic changes in style and innovation according to the circumstances of the times. That is, they incorporated historic features such as amplify and the repudiation of tradition, repeat, critical support and self-criticism based on avant-garde approaches.
Neo-expressionism drew attention through the determination of the world's painting circles to overcome excessively ascetic and conceptual art in the 1970s and new attempts to break away from the generally sluggish artistic community and began to appear on the international stage around the mid-to late-1980s. At that time, the works of artists featured primarily new painting. Meeting the market's expectations for new changes, they placed themselves among the global ranks in the 1990s.
Whatever the case, future artworks can be largely divided into two groups: those made of state-of-art materials and techniques, and those which depict reality within the boundary of traditional painting methods or production methods and language inherent to the relevant art genre. I think art will develop in these two directions for quite some time. Of course, the topics of art mayor may not be same.
In this world in which diversity and individuality are to be preserved all at the same time, if you are not too stupid, you will never say that truth is absolute or truth is one. Entering into modern civilized society, we began to understand rules inherent to history and society that had not been known previously, and from this point gained a new understanding about human beings. Young artists have recently begun to more aggressively question what societal and historical environmental rules dominate.
After all, what should we question and contemplate?
목차
Ⅰ. 들어가며
Ⅱ. 20세기 후반 이후의 미술지형
Ⅲ. 새로운 미술의 동향
Ⅳ. 나가며
참고문헌
Abstract
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