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국립현대미술관 소장품전: 피카소 도예
국립현대미술관 저 | 국립현대미술관 | 20231130
0원 → 23,250원
소개 본 도록은 국립현대미술관 청주에서 열린 《국립현대미술관 소장품전: 피카소 도예》에 관한 내용을 수록한다.
입체주의의 선구자이자 현대미술의 천재 화가로 불리던 파블로 피카소는 회화뿐만 아니라 조각, 판화, 도예, 무대미술 등 다양한 매체를 넘나들며 한 분야에 안주하지 않은 열정적인 예술가였다. 피카소는 1906년 도예가 파코 두리오를 통해 도예를 처음 접하고 1929년 도예가 장 반 동겐과의 협업으로 두 점의 작품을 제작했다. 이후 1946년 프랑스 남부 도시 발로리스 마두라 공방의 도자정례전 방문으로 본격적인 도예 작업을 시작했다.
《피카소 도예》는 피카소 작고 50주년을 맞아 도예가로서 피카소의 작품세계를 소개하며, 2021년 기증된 이건희 컬렉션 가운데 피카소의 도예 107점을 공개하는 전시다. 이 전시는 현대미술사뿐만 아니라 20세기 도자 역사에도 광범위한 영향을 미친 피카소의 작품세계와 함께 현대미술과 도자의 긴밀한 관계를 조명한다.
도록은 설원지 학예연구사의 기획의 글과 진휘연 교수의 「원초적 예술혼을 깨우는 흙과 불의 시: 피카소 도예전」을 주제로 한 원고를 수록한다. 또한 ‘여인, 신화, 동물, 올빼미, 얼굴, 투우, 사람들, 정물과 풍경, 도예와 판화’ 등 피카소가 즐겨 다루던 주제별로 작품 도판을 수록하고 작품 목록, 아카이브, 전시 전경 등을 담았다.
국제표준 도서번호(ISBN) : 9788963033815
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한국 실험미술 1960-70년대
국립현대미술관 저 | 국립현대미술관 | 20231130
0원 → 36,270원
소개 우리의 작업은 실험
무에서 출발
창조만을 위한 행동이다
-무동인 선언(1967)
본 도록은 국립현대미술관 서울에서 2023년 5월 26일부터 7월 16일까지 열리는 《한국 실험미술 1960-70년대》와 관련된 내용을 수록한다. 《한국 실험미술 1960-70년대》는 국립현대미술관과 솔로몬 R. 구겐하임 미술관에서 공동 기획한 전시로, 1960-70년대 한국 청년작가들의 선언에서 시작된 실험미술을 동시대로 소환하여 초국가적으로 집중하고 조명한다.
국제표준 도서번호(ISBN) : 9788963033662
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My Paik Nam June: Memories, Conversation, And The Spread Of Discourse(나의 백남준: 기억, 보존, 확산) (나의 백남준: 기억, 보존, 확산)
국립현대미술관 저 | 국립현대미술관 | 20231129
0원 → 19,600원
소개 On November 18, 2022, the National Museum of Modern and Contemporary Art, Korea (MMCA) held an international symposium called My Paik Nam June at the MMCA Gwacheon, where Paik Nam June’s work The More, The Better is installed.
This book is a research publication that revisits Paik’s artistic achievements by expanding on the presentations at the symposium and adding new manuscripts. As in the symposium, the book is organized into three parts to provide a multifaceted understanding of the artist. Chronologically, it covers major topics of the research on Paik Nam June in the context of the past, present, and future.
Chapter 1, “Memories and Legacy,” approaches Paik’s artistic practice by reflecting on his life and the legacy he left behind. Beginning with Paik’s early career and detailing his activities in the United States from the mid-1960s onward, Barbara London, a former curator at the Museum of Modern Art in New York, provides a vivid portrait of the New York art scene at a time when media art was emerging as a result of the increasing interaction between art and technology.
Saisha Grayson, Curator of Time-Based Media at the Smithsonian American Art Museum (SAAM), highlights the meaning of collaborating with Paik through the Nam June Paik Archive held by SAAM.
Lim Shan, a professor at Dongduk Women’s University’s Department of Curatorial Studies and Art Management, analyzes the meaning of Paik Nam June’s writings from a contemporary perspective and explores the aesthetic meaning and significance of Paik Nam June’s writings that reveal his experimental nature and creativity.
Architect Kim Won, principal architect at the architectural research office Kwangjang, remembers his collaboration with Paik in the 1980s when he was designing the frame structure for The More, The Better.
Chapter 2, “Media Art and Conservation,” explores the technological achievements that made the reactivation of The More, The Better possible and, in a more general sense, the meaning of conserving artworks. Hanna B. Hölling, an honorary associate professor at University College London, discusses the conservation of Paik Nam June’s works in a multifaceted context of art history, materials, and technology.
Media artist and the president of the Korean Society of Basic Design & Art Yi Won Kon talks about the conservation goal of Paik Nam June’s video installations in the context of analog technology.
Dorcas Müller is the head of the Laboratory for Antiquated Video Systems at the ZKM | Center for Art and Media Karlsruhe. Her work brings the concept of conservation from ancient Indian literature into the present.
One of the MMCA's conservators, Kwon Incheol, shares the conservation and restoration process of The More, The Better, which showed potential problems with conservation due to aging equipment from the time it was installed.
Chapter 3, “Spread of Discourse,” discusses the influence and potential that Paik Nam June’s artistic practice still has today. Focusing on Paik’s satellite works and his role as a cultural curator in Korea, Rhee Jieun, a professor at Myongji University’s Department of Art History, examines his vision of globalization and traces how the connectivity he so passionately sought manifested itself in his works and practice.
Kim Hee-young, a professor at Kookmin University’s Department of Fine Art, connects the work of Paik Nam June, who rejected traditional artistic conventions and instead sought to fuse sound and image through electronic experimentation, to the artistic vision of Dada artist Raoul Hausmann from a media archaeology perspective.
Gregory Zinman, an associate professor at the School of Literature, Media, and Communication at the Georgia Institute of Technology, suggests directions and pathways for contemporary art that can be connected to the principles of Paik’s art.
국제표준 도서번호(ISBN) : 9788963033839
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