Andre’s floor pieces can be summarized as a simple pattern of repeating the unit of geometrical shape. Andre defined that the purpose of his work was to find and select an independent particle and make a work piece based on it. The unit is a unit that composed the whole piece and this concept corresponds to how Andre referred the particle therefore the unit is the root of his floor piece. Andre’s modular unit is fundamental and has singular size and properties. The modular unit are made to be simplest form with minimum requirements. This modualr units can be combined and form anxial symmetry that are free to exchange, add and remove - which is an important feature of Andre’s work. For this reason, Andre’s unit is the part of floor piece but, at the same time, it exists as the floor piece by itself. Andre wanted to make his unit to be most fundamental ones and noted basic materials : elements material. The element material cannot be splitted into any subordinate unit. Andre selected the Periodic table of the elements which organized by Dmitrii Ivanonichi Mendeleev, Russian chemist, as the theoretical basis. Since Andre was a child, he was interested in chemistry. Andre wanted to build a museum to exhibit samples of all materials. Andre’s floor pieces that are made of elements material show a desire for the museum. In the choosing the material, Andre followed the Periodic table of the elements outright. To emerge from the limitation on the selection of material, Andre used the method to place his units by intersection. The pieces are made with pure materials provided various experiences for visitors beyond the visual experience. Without dazzling visual stimuli, Andre’s floor pieces which made of element materials are active and free existence and does not lose its own identity and value always.

Jeon Soocheon’s Moving Drawing is a cross continental project carried out for 7days and 8 nights, from 14th to 21st of September 2005 along the Amtrak of United States. In the sense of art history, Moving Drawing falls under the term site-specific installation, emerged in the late 1960’s, as it relies on the railways of limited areas of United States. However, at the same time it holds characteristics of public art as ordinary audience can participate and experience the art work for certain period of time. Since the 1990’s, the concept of art headed towards new trend that cannot be described under frames of traditional modernism. This new work of art attempted art to return to reality and actively fuse with everyday life, and be re-produced by others into copies continuously; currently referred to as neo-conceptualism or global conceptualism. Jeon claims that Moving Drawing falls under a ‘new’ genre of postconceptualism, where existence of both discussion and interactive space is possible together at once. In Moving Drawing, as the audience can live inside the work (train), communication is emphasized by opening the relationship between artwork and audience, and relay of the work is featured on the internet; in this sense, the work falls under neo-conceptualism. The question of this article towards the work begins from this point. How will Moving Drawing be explained by the perspectives of ‘new’ conceptualism? On the reverse, how is Jeon’s Moving Drawing read by the perspectives of ‘new’ conceptualism? This article will reveal that Jeon focused on works introduced in the 1990’S, that encouraged audience participation and strategically used theory of Nicolas Bourriud who invented ‘relational aesthetics’ and ‘relational art’. Furthermore, as a result, the art tendency of the artist will be described as Nomadism. The term Nomadism originated from Nomad, who continuously moved in search of new life, referring to inclination of action where one endlessly searches for new identity free from specific norms or values. In ‘Difference and Repetition’ by French philosopher, Gilles Deleuze in 1968, the world of Nomad was described as ‘world of moving visual’, which continued to be used as philosophical term ‘Nomadism’. The term refers to continuous search of new things beyond traditional value and philosophy, and in an artistic sense, it refers to artists, with avant-garde spirit, exploring the new world by crossing between various academic fields. Despite artists working with various post-conceptual tendencies, research on them is lacking in the current art scene, and hence, this article is important and valuable attempt.

This article is based on the observation of <Braille Painting·Munja(Character) Painting>, an educational program for the culturally underprivileged people for the first half of 2013 by the National Folk Museum of Korea, and provides observation and analysis of the process how the visually challenged people experience and apprehend traditional art through the museum’s education program that focuses on Hyoje Munjado(character painting), traditional Korean folk painting. The <Braille Painting·Munja(Character) Painting> program helped the attendees with visual disability to learn about the folk painting, Hyoje Munjado, exhibited in the museum, and re-interpret and visualize the meaning of eight characters of Hyo Je Choong Shin Ye Ui Yeom Chi (filial piety, brotherly love, loyalty, sincerity, etiquette, fidelity, integrity, and shame) based on one’s unique experience, and create an art work of their own. This program was distinct as it allowed those with visual disability to learn about the ethics and culture of the Chosun society through the contents of Hyoje Munjado, while at the same time helped them experience the process of art creation by making an art work of one’s own. Hyoje Munjado is a special type of painting in which eight Chinese characters of Hyo Je Choong Shin Ye Ui Yeom Chi, the key ethical virtues of the Chosun society, were written and old sayings and figures are symbolized and drawn into the strokes in the eight Chinese characters. The ethical virtues expressed in the painting are still considered socially important and the program attendees can understand the meaning of the Hyoje Munjado reflected in their life and create their own munjado based on such contextual understanding. The program demonstrates how suitable a contextual understanding from constructivism perspective is in the exhibition and education of museums for the museum visitors with diverse cultural background, knowledge, and environment as well as the visually challenged. Furthermore, the program clearly indicates the effects of a constructivism education that creates a new meaning through a contextual interpretation of experiences in the education for the visually challenged. Although the program started out of an exploration into how to enable those with visual disability experience art, it also appears to be effective in allowing people with rare access to art and history of art experience art in their daily life experience.

This writing aims to observe Korean art through keywords such as culture, art and the everydayness and its relationship with mass culture, Korean art after the 1990s and its daily world. It was during the latter part of the 1980s that the Korean society entered mass society. The Asian Games of 1986 and the Seoul Olympic Games of 1988 accelerated the internationalization of Korean society and the local political scene was approaching the political democratization through the 6ㆍ29 Declaration of 1987. Outside Korea, the Soviet Union, which represented the communism block of the world, collapsed, leading to the dismantling of the ideological confrontation between communism and capitalism. The Western postmodernism also made its way to Korea affecting the social ambience and allowing various values to coexist beyond the ideological opposition of the left and the right. The reason why I intend to take the correlation between mass culture and Korean art as the main point of Korean art after the 1990s, is that the quotidian aspect began to be reflected in art due to the emergence of mass culture and the subsequent expansion of art into daily life. This thesis examines how the mass culture and daily element is rendered in Korean art after the 1990s through three categorical points of discussion: Text/comprehension that acts as a sign, Reciprocity/relationship that involves the active intervention of the audience, and Commonness (popular vein)/anti-elitism that reflects the mass sentiment. I paid attention to what happens on the surface of society and its certain regular signs, desires and the fixed ideas in the consumption of text/comprehension, the transgressing between art and life through the process of representation by sharing it with the other, and finally, how art tries to reveal mass sentiment or show a critical consciousness of art that is considered vacant because of its utilization of discarded materials once produced by modern society in commonness (popular vein)/anti-elitism. Such tendency disintegrates the classical norm of art that divides art and life and reflects the alienated quotidian life, ultimately making us re-think our conventional ideas and modes of action. This writing is an attempt to discern the point of change in the development of the Korean contemporary art.

This study focuses on Portraits of the Wyatt Family of John Everett Millais (1829-1896) who was active in England during Victorian Age. Portraits of the Wyatt Family refers to both James Wyatt and his Granddaughter, Mary Wyatt (1849) and Eliza Wyatt and her Daughter, Sarah Wyatt (1850), and these paintings were done for his patron James Wyatt in the early stage of Pre-Raphaelites Brotherhood (P.R.B.). In the 19th century, the British Academy of painting did not move forward from just imitating the works of the past, paying the best tribute to Raphael and Michelangelo and pursuing Joshua Reynolds’s Discourses on Art of 18th century. In criticizing such a stream, P.R.B. came up to the surface in 1848 initiated by Millais, William Holman Hunt, and Dante Gabriel Rossetti with an emphasis on recovering sincerity in painting. In Portraits of the Wyatt Family, it contains various features. In this paper, these specific features are divided into two parts: detailed expression and expression of distorted perspective. It seems that P.R.B.’s belief that thorough observation on small details opens to a window to find the truth in them played as a source to enable detailed depiction. And Portraits of the Wyatt Family distorted the perspective of the high Renaissance traditional perspective. Distorted perspective makes viewers to look at the painting with the same perspective, which suggests a new approach of seeing the picture, not separating the center and periphery in the painting. This study shows that ‘images-within-images’ of the Portraits of the Wyatt Family function reversely from those in traditional art and they are directly reflecting the ideology attached to women in the mid-nineteenth century of Britain. In this paper, it analyzes that ‘images-within-images’ have two different characters at the same time. Thus, this study is significant in that this approach provides a chance to explore the implications in wider extent, instead of just seeing Portraits of the Wyatt Family as family pictures. This study interprets the Portraits of the Wyatt Family in line with the characteristics of P.R.B.. Therefore capturing various hidden meanings from the Portraits of the Wyatt Family and allowing better understanding of the work.

This thesis is on installations of Barbara Kruger(1945~). Kruger has made viewers experience the work and grasp the meaning themselves by using images and texts. The artist doesn’t provide the meaning she thinks to viewers and make them accept her intention. Instead, she provides viewers with the work as the passage they realize the meaning of the work by. Those efforts of Kruger are maximized in the installations, which has been made since 1989. The installations where the images and texts were expanded to the floors the viewers stood and the walls and ceilings surrounding them stimulate the perceptions of the audience more aggressively than the plane works in 1970s and 1980s did. In the late 1970s, Kruger observed nearby buildings closely and made the work arranging the picture of building and the story which might have happened in it. Her interest in architecture which she thinks dominates and control one’s personal life gets connected to the idea of the subject leading a passive life in unequal power structure which is not so easy to perceive. In 1980’s Kruger criticized the social structure overflowing with visual images and informations indiscriminately by mass media. Also, she completed her style which combined the image and text at one place in 1980’s. The images in black-and-white and the texts in white and red became Kruger’s trademark. Based on such careers, Kruger produced installations in 1989 where images and texts were expanded to the three-dimensional space. Although Kruger has made installations with images and texts, there are some changes such as a large scale, using video and sound. Like the advertisement, the past work form which caught the people’s eyes in a moment was transformed into the large scale in order for viewers to encounter the work with their whole body rather than just see in front of their eyes. Through installations, kruger has intended to recover the subjectivity of consciousness of audience, which she believes has been controlled by mass media culture. This study considered this by using Guy Debord’s spectacle, who had referred to the society of spectacle where the essence, reality were less important than the imitation, illusion and the independent subject was alienated. Installations is site-specific in a way that its size, composition and the contents of images and texts depend on locational characteristics. As turning their heads, walking and moving around, the viewers get immersed in the work which Kruger made with images, texts and video using provided space. Kruger’s installation work becomes a place for experience, attracting the physical participation of audience and then the immediacy of experience is strengthened by her direct address. Through the personal pronoun, the interrogative and the dialogic sentence, Kruger encourages viewers to set their positions in the work. Accordingly viewers can make their own meaning of work, keeping their distance from it. In this way, Kruger made viewers absorb in the work and keep distance from it while she divided the space into the physical place and the place for them. Then the viewers can overcome the passive attitude prevalent in the spectacle society and be the independent subject after a creative process such as experiencing Kruger’s work themselves and making their own meaning.

This thesis is a study on dualism in Cy Twombly(1928-2011)’s series of Lepanto. Twombly made his debut with his scribble-like works in the 1950s when Abstract Expressionism enjoyed its golden age. In the New York art world where American Type Modernism was prevalent, Twombly was not permitted, and thus he had been a forgotten artist for a long time. After the advent of postmodernism, however, Twombly has been “rediscovered” continuously and become one of the most expensive artists. Hostility and hospitality, between these, does Twombly’s dualism exist. The subject of the series of Lepanto, the Battle of Lepanto, was the naval battle in which a fleet of the Holy League, a coalition of Spain, the Republic of Venice and the Papacy, decisively defeated the main fleet of the Ottoman Empire in 1571. Because the pivotal point of power between the East and the West had changed due to this event, the Battle of Lepanto has been considered as the crucial turning point of conflicts between the East and the West. Traditionally many Western artists have painted the Battle of Lepanto as a grand painting showing off the glorious triumph. However, it is the scrawl-like traces that Twombly’s series of Lepanto displays. Therefore, it can be said that not as representing the monumental event as it is, but as doodling it lightly, Twombly intended to break down the traditional binarism ― the East and the West, by extension, triumph and defeat, life and death. In the series of Lepanto, the galleys signify masculinity and the sea implies femininity according to Roman Jakobson’s rule of metaphor and metonymy. The masculinity and the femininity in Twombly’s series of Lepanto have a horizontal characteristic, different from Abstract Expressionism’s vertical dualism. Twombly’s series of Lepanto is included in the genre of a war painting, and like other war paintings, there are a large number of death in the series of Lepanto. Despite such a serious subject, however, sensuality exists in Twombly’s series of Lepanto. It is ascribed that extreme pain comes down to sensuality of death in the end. Life is a detour on the road to death and death is a process for life. pain and pleasure are one and the same. As a consequence, it can be deemed that the dualism in Twombly’s series of Lepanto is not for the confrontation, but for the union of opposites.

Korean families were separated in the wake of division of Korea into north and south. Separated families became refugees, defecting from North Korea. Therefore, it can be said that all of the North Korean refugees, who have currently settled down in South Korea, fall under the category of separated families. Under these circumstances, group experience and homesickness of North Korean refugees have been the driving force of their artistic creation, which has been reflected in their works. It was found that the North Korean refugee painters had felt homesick. Young-rim Choi also is North Korean refugee painter. He described the utopia that he had dreamed of in his works as they put emphasis on pain from loss of hometown and nostalgia for childhood. He also reflected his hometown indirectly in his works. His works have the common features such as landscape that is similar to that of his hometown, influence by tumulus murals, which can be assumed based on iconic and expressive technique. It is right to say that the common features express objects of ideology that is intrinsic to painter’s mind, rather than simple landscape or person. This is because his paintings connote painter’s longing, memory, dream, and hard feelings of deep sorrow simultaneously. As the painter look for images that are similar to those of his hometown due to physical absence of homeland, such images mean that consciousness of internal diaspora of Korea among North Korean refugee painter is expressed in the passive way. This study was meaningful in that the works and achievements by Young-rim Choi were examined in the perspective of internal diaspora of Korea, even though he has never been investigated until recently, with a view to getting an in-depth understanding of his works and positioning the painter on the historical map.

The purpose of this study is based on Nam June Paik’s first solo exhibition, entitled ≪Exposition of Music-Electronic Television≫ which was held in 1963 at Galerie Parnass in Wuppertal, Germany. This was Paik’s first exhibition on the work of electronic television. Furthermore, this exhibition has provided the initial point of Video Art and that counts as an important meaning for researching Paik’s works. In 21st century many art museums are attempting to reproduce Paik‘s first exhibition itself. For this point of view the purpose of this study is focusing on the exhibition installation and its effects of the ≪Exposition of Music-Electronic Television≫. Paik has solely organized and directed this ≪Exposition of Music-Electronic Television≫ and also designed the poster. At Galerie Parnass Paik had made the exhibition with operated electric television, scenarios staged with prepared piano and mechanical sound objects along with record players and audio tape installations. Through this exhibition it turned the space of exhibition into an art work. The audience could freely experience the individual spaces which holds its own characteristics by operating the installed art works. All the different materials and physical effects installed in different rooms, all kinds of objects making sound or noise, and furthermore the works that needed audience participation have shown that characteristics of Paik’s major interest about the ‘space’, ‘sound of everyday life’, and ‘Audience participation’. Moreover, Paik has directed this ≪Exposition of Music-Electronic Television≫ not only dependent on standardized visual part but also multilateral experience approach for open exhibition. Paik’s intention for his exhibition was that the audience could be free inside exhibition space and this intention aroused the unknown artist Joseph Beuys to have spasmodic happening performance in his show. Joseph Beuys have smashed the lying piano on Paik’s show through this performance and Paik was satisfied with Joseph Beuys’s unforeseeable performance. This performance was not only about wrecking the art work but rather ‘homage to Nam june Paik’. For this kind of exhibition circumstance, Paik has made the television which was the linear communication with the audience to the ‘art work that is completed by the audience’. The passive viewers of television have become active viewers through making sound in front of television or operating the images with the sound volume while they are participating on Paik’s exhibition. Moreover, Paik has transformed the main classical instrument piano to attempt Art as a ‘playful’ thing, which was a priority only for the privileged classes. ≪Exposition of Music-Electronic Television≫ was Paik’s unique exhibition that holds ‘space and the sound’, ‘audience participation’, ‘experimenting new medium’. Paik has made the exhibition space as a one united space environment and did not segregate the ‘Art and everyday life’ and ‘Artist(subject) and Audience(object)’ which have made ‘space’, ‘audience’, ‘new medium’ as an Art.