Page 67 - 김연희 전자책 파일 210x260_Neat

of the image shown by Neo-dada formed in the 50s of the post-war period, has
emerged as a tendency to demand the end of illusionism or processed images.

This trend develops into two movements: ‘Pop’ style, which is deeply related to
popular image, and ‘literalism,’ which pursues authenticity. Therefore, after Mon-
drian, Literalism which was set as an aesthetic hypothesis of modernism, leads to
a challenge to the basic spirit of presentation art by Plato’s concept of ‘mimesis.’

Barbara Rose, a minimalist critic who advocated ‘Minimalism’ that pursues
simplicity, leaving only the nature of things behind, classified painters after
Jasper Jones into two categories as follows:

First, if the two-dimensional condition as ‘painting’ is abandoned to select a
‘three-dimensional object,’ which is a ‘literal space’ for illusion, autonomy as
an object is acquired.

Second, when ‘illuminism’ is sacrificed to create a screen shape that matches
the plane, ‘literal art as the way it is’ is established.

As can be seen here, in the early 20th century, it can be observed that the
regular consciousness for ‘autonomy of painting’ starting from Clive Bell
was reduced to a strong commitment to the media called ‘purity’ by Clement
Greenberg, who pursued intrinsic and formal criticism. This Kantian thinking
that Greenberg is taking has led new young artists to have a new ‘thing-cen-
tered’ art view of minimal art in the 60s. In the end, it can be observed that the
concept of modern painting itself recognizes ‘Object’ as art, and that painting
gives up its own autonomy and replaces the other half with object value.

‘Literal Art’ actually made the appearance of ‘Object Art’ possible and accom-
panied its function at the same time, but the background behind the establish-
ment of literal art is the emergence of ‘All over painting.’ In other words, after
abstract expressionism, the most important problem in painting leads to the
problem of ‘surface,’ and the special meaning of ‘field’ and ‘module’ is draw-
ing attention as a direct problem.

After this change in Western art, monochromatic minimalist abstract painting,
which was positioned as the summation of Korean contemporary art in the 1970s,
called ‘Korean minimalism’ or ‘Korean monochrome painting,(Dansaekhwa)’
developed with a difference in character from minimalism and literal art. In
fact, the style of Korean contemporary art is in line with the big trend of West-
ern contemporary art, but unlike Western art, ‘monochrome,’ which excludes
its identity from colors, materials, and techniques as much as possible, clearly
contains a Korean spirit different from the aesthetics of ‘monochrome.’ Kim
Youn-hee usually says she was highly interested in the works of Lee Woo-
hwan and Yoon Hyung-geun. Lee Woo-hwan is called the painter of ‘(blank)