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Author Roe, Jae-Ryung
Title The representation of national identity in Korean art exhibitions, 1951-1994
Descript 242 p
Note Source: Dissertation Abstracts International, Volume: 56-10, Section: A, page: 3775
Chairperson: David W. Ecker
Thesis (Ph.D.)--New York University, 1995
This research is premised on the notion that national identity is culturally constructed and focuses on overseas art exhibitions as a cultural practice that is heavily invested in representing national identity. The dissertation examines the literature surrounding a selected cases of major exhibitions to identify the various concepts and the particular discourse that have produced constructed notions of national identity in the visual art. The dissertation also looks into how these exhibitions were being received overseas by examining the press reviews of the exhibitions. The research takes this line of thinking further by examining the particular constructs of national identity within the context of international politics and cultural policy
The first case study is the New American Painting exhibition which examines the discourse of American nationality that was defined by differentiating American art from that of Europe. The notions of individual freedom and youth uninhibited by tradition was central to the discourse of American nationality and this notion is examined within the context of the politics of Cold War cultural policy and suggests the intimate relationship between the current ideology and museum exhibition practices
The dissertation then examines the history of art exhibitions from Japan as the most exemplary case of how art from Asia has been constructed as different from the category of the West, and examines the various discourses that have been employed to discuss the distinctiveness of Japanese art. The exhibition history of Japanese art has revealed that Japan has constructed an image of its national culture as tradition-bound and as different from the West, thereby privileging nativist and traditional elements
The case of Korean exhibitions looks at the history of representations of Korea in the West and traces the major exhibitions that have attempted to construct Korean nationality as distinct from neighboring cultures of China and Japan, and later of Western international contemporary art. In the history of Korean exhibitions, the extent to which the exhibition discourse was able to articulate the cultural history and art of Korea was limited due to the lack of exposure to Korean art in the West. However, successive exhibitions, since the first exhibition in 1951 of photographs of the Korean War to the Festival of Korea in 1993-1994, have been able to progressively discuss Korean art more in depth. The cases of exhibiting modern and contemporary Korean art have been faced with the predicament similar to the Japanese exhibitions, namely that the exhibitions defined Korean art as distinct by differentiating it from generalized notion of Western art. There have been a radical shift in how national identity has been defined in Korean contemporary art of the eighties and the dissertation examines the change in the discourse of national identity in the eighties and nineties and looks at exhibitions that have presented such an alternative construction of Korean nationality
School code: 0146
Host Item Dissertation Abstracts International 56-10A
Subject Art History
Fine Arts
History, Asia, Australia and Oceania
Alt Author New York University
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