‘#미술계_내_성폭력’ 운동과 미술사학의 과제 - 미투운동 시대, ‘페미니즘 미술사 리부트’를 위하여

Abstract

the #MeToo movement stimulated art history to reflect on its academic existence and role within society. How will the researchers of art history or art history itself respond to the #MeToo Movement? Is it still possible for art history to continue its role as a traditional art history, while acquiescing sexual violence and sexual discrimination within the academic field or in the art world?BR Therefore, this article started from clarifying the meaning of the ‘#Sexual Violence_in_Art World’ movement in the extension of the Feminism Reboot in Korea. The objectification of ‘young women’ in the art world means that they are exposed to the sexual harassment or sexual violence, which threatens not only the survival of women but also the survival of artists. The unequal power relationship in the art world reveals itself in the form of sexual violence. It means that this power itself is ‘gendering power,’ and the condition that makes it possible is a long-structured man bonding in the art world. In such a structural situation, the academic field of art history has also marginalized feminist approaches. Even more, historical evaluation of feminist art has been established in a way that distinguishes ‘activist’ feminist art from ‘cultural’ feminist art and that the historical evaluation of the latter alienates the former. In the field of art history that has marginalized historical feminist activism, it is difficult to establish a place for current feminist activism such as ‘#Sexual Violence_in_Art World’ movement.BR For this reason, the feminist activist approach to art history by Linda Nochlin, which defined art history as a kind of dominant structure and as a supplement to the social movement of women, is summoned more powerfully in the #MeToo era. Nochlin, who did not insist on art history as an independent academic system, but positioned it in a wide range of feminist movements and encouraged active solidarity with the field of art, set the duty of feminist art history as changing the present. Therefore, reflection on the existence of art history in the #MeToo era will require to relocate art history in the practical dimension that change society.