1950-70년대 한국 공예계 지형과 제도: 유강열의 예술 욕망과 공예계 제도들

Abstract

This study examines the construction of the system and topography of the modern Korean crafts industry through the life of Yoo Kangyul, a craftsman and printmaker, born in 1920 during the Japanese colonial rule and ended on the road of economic growth in Korea in 1976. He began his full-fledged activities after the Korean War, and was at the site of the institutional foundation of contemporary art in the spectrum of national reconstruction and modernization. While helping to systematize specialized areas of art such as education and exhibitions, he created the territory of the art&craft world, while steadily expressing his desire for art into works. At that time, the situation of the artist, who moved between the establishment of an institution through participation in the public domain and the artist’s will to express it, can be guessed. The main content of this study is to examine the contemporary worldview and art issues, focusing on the specific process of this. In the introduction, as the term ‘art&craft world’ suggests from the issue of the Korean situation, art system, and genre boundaries since the 1950s, we looked at the situation in which the craft landscape was built by the institutions through majors and exhibitions by experts. Next, the activities of the Korean Art and Culture Research Institute under the National Museum of Korea and the Korean Craft Demonstration Center, which are two large institutions that establish the craft industry, were reviewed. Finally, we will see the problems of the educational system in the craft world through the system and the desire for free art to escape from the system and realm through the reading of the work. This is a historical example that reminds us of the dilemma of the system and domain of tradition and modern dualization, overlapping and connotation with contemporary art, intersection with design, and separation from the art world beyond the time when Kangyul Yoo lived and until today.