1970년대 중반 한국화단의 평면 양상: 반복 행위가 표상된 드로잉을 중심으로

Abstract

This study discusses the “new flatness” that stood out in the Korean art scene in the mid-1970s and affirms the individuality of flat works by showing that these works cannot be generalized from the perspective of formalism. New flatness was avant-garde on the international stage that emerged in the wake of the Protests of 1968. It is explained as a project that sought to subvert the painting medium through pictorial elements in the context of post-structuralism. The Korean art community accepted this contemporary avant-garde through the 8th Biennale de Paris (1973). Its influence can be confirmed in Ufan Lee’s From the Line, Seobo Park’s Ecriture, and Lee Kun-Yong’s The Method of Drawing. The dominant narrative at the time emphasized the similarity of these works for their representation of repetitive actions. This paper argues against this narrative of formal similarity and will substantiate the individuality of flat works.