전시와 비평으로 보는 한국 현대도예 - 1950-1970년대 작품을 중심으로 연구
An Exploration of Modern Korean Ceramics Through Exhibition and Critique - a study focused on works from the 1950s to 1970s
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초록
본 연구는 1956년부터 1970년대까지 개최되었던 한국 현대도예 전시를 살피고, 해당 전시에 대한 비평가들의 해석을 중심으로 분석한다. 태동기 한국 현대도예 연구는 기록자료의 부족과 담론의 부재로 인하여 연구에 한계가 있다. 이러한 공백을 메우고자 본 논문에서는 신문기사와 전시도록, 그리고 작가와의 인터뷰를 분석 근거로 활용한다. 한국 조형문화연구소가 주최하고 국립박물관에서 개최한《제1회 신작도자기전》을 시작으로 1978년 국립현대미술관에서 개최되었던《한국현대도예초대전》에 이르기까지 전시를 중심으로 미술의 자장에서 선보인 현대도예에 나타난 주요 특징을 찾았다. 이러한 전시가 김영주, 김원룡, 이경성, 이순석, 최순우 등 미술계 지식인들의 시각에는 어떻게 비추어졌는지 이들의 전시평을 조사했다. 현대미술의 담론을 이끄는 비평가들은 현대도예에 나타난 기면 위의 새로운 유약표현의 비평적 근거를 당대 추상화단의 미학에서 찾았다. 도예계와 미술계의 직접 연관성을 제시할 객관적 자료를 확보하지는 못했으나, 최초로 도자 공부를 위해 유학을 떠났던 정규의 글과 1960년《제6회 모던아트협회전》에 도자를 표현매체로 소개한 행보를 통해 간접적 근거를 제시했다. 본 연구는 대학에서의 도자교육이 시행 된 이래, 작품의 특징이 아닌 교육체계 변화를 근거로 설정된 한국 현대도예 기점 연구에 있어서 작품의 내재적 변화와 비평을 통해 새로운 시각을 제시했다는 데 의미가 있다.
Abstract
This study analyzes modern Korean ceramics exhibitions held from 1956 to the 1970s, focusing on critiques by art critics. The incipient phase of research on modern Korean ceramics faces limitations due to a lack of archival materials and a deficiency in discourse. To address these gaps, this paper utilizes newspaper articles, exhibition catalogs, and interviews with artists as the basis for analysis. Beginning with 《New Ceramics》(1957) hosted by the ‘Korean Art Society’, this study identifies key characteristics of modern ceramics presented in the art field up to《Modern Ceramic Exhibition of Korea》(1978) at the National Museum of Modern and Contemporary Art, Korea. It investigates how these exhibitions were perceived by art intellectuals such as Kim Young Joo, Kim Won Yong, Lee Kyung Sung, Lee Soon Suk, and Choi Soon Woo. Critics leading the discourse in modern art found critical grounds for the new expressions of glaze on ceramics in the aesthetics of contemporary abstract art circles. While no direct evidence was obtained linking the ceramic and art communities, indirect evidence was presented through Jeong Kyu's writings and his overseas studies for ceramic research, as well as the introduction of ceramics as a medium at 《6th Modern Art Association》(1960). This study is significant as it departs from the traditional approach of basing research on modern Korean ceramics on university education, and instead offers a new perspective through the intrinsic changes in the works and critiques.
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