Hidden Bibliographic Details
| Other authors / contributors: | University of Chicago. degree granting institution.
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| ISBN: | 9781321880779
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| Notes: | Advisors: Chelsea Foxwell Committee members: Kyeong-Hee Choi; Hans B. Thomsen; Hung Wu.
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Dissertation Abstracts International, Volume: 76-11(E), Section: A.
English
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| Summary: | This dissertation examines the various ways in which Japanese and Korean artists depicted colonial Korea (1910-45) within the formation of a modern East Asian artistic canon. Through an examination of imperial Japan and colonial Korea, the project contributes to the field by taking as its premise that the modern histories of Japan and Korea cannot be adequately grasped without extensive reference to each other. The emphasis here is two-fold: to examine the nuances of the Japanese cultural gaze upon colonial Korea but also to consider how Korean artists returned this gaze as they both engaged in modernism's call to test the limits of representation.
The modern Japanese encounter with colonial Korea was articulated through a self-conscious gaze that immediately transformed both the colonizer and the colonized: to look at colonial Korea was to distinguish its differences and performances of identity and to exemplify what made Koreans Korean for an external observer. Concurrently, the awareness of being gazed at instigated in Korean artists a consciousness of the need to assert Korea's cultural distinctiveness of within Japanese imperial culture. I explore how Japanese and Korean artists experimented with new forms of representation and responded to Western artistic movements as they developed a shared visual culture, despite the history of their uneven and oppositional relationship under colonialism.
I argue that four newly reformulated genres were inaugurated as Japanese and Korean artists alike strove to fulfill the challenges of artistic modernism: the picturesque East Asian landscape; the self-portrait of the East Asian artist; the modern beauty; and images of "local color." In reconsidering these images as a single corpus, I expand the conceptualization of modern art to include paintings and prints that were discounted previously as artifacts of imperial conflict.
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