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Can the Subaltern Artist Speak? Postmodernist Theory, Feminist Practice, and the Art of Lee Bul.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Can the Subaltern Artist Speak? Postmodernist Theory, Feminist Practice, and the Art of Lee Bul./
Author:	Cho, Hyeok.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	460 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-03, Section: A.
Contained By:	Dissertations Abstracts International82-03A.
Subject:	Art history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27964773
ISBN:	9798664702729

Can the Subaltern Artist Speak? Postmodernist Theory, Feminist Practice, and the Art of Lee Bul.
Cho, Hyeok.

Can the Subaltern Artist Speak? Postmodernist Theory, Feminist Practice, and the Art of Lee Bul. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 460 p.

Source: Dissertations Abstracts International, Volume: 82-03, Section: A.

Thesis (Ph.D.)--State University of New York at Binghamton, 2020.

This item must not be sold to any third party vendors.

This dissertation serves two purposes: first, to examine how a non-Western woman artist can speak in a globalized art world; second, to analyze the critical discourses of Korean contemporary art starting from the late 1980s - postmodernism, feminism, and globalization.From the late 1980s to the early 1990s, the Korean art world encountered a significant paradigm shift. The end of the Cold War, the fall of the military dictatorship and the inauguration of a civilian government, and the advent of consumer capitalism opened a new era of cultural and artistic pluralism. At this point, postmodernism and feminism were introduced to the Korean art world from the Western art world. However, postmodernism and feminism in Korean art were also specific, distinct discursive formations and practices. When a Korean woman artist spoke, it was at the intersection of Korean and international (specifically Western) discourses on art.This dissertation provides a case study of a Korean woman artist, Lee Bul (b. 1964), who has been considered an exemplary postmodern feminist artist. Chapters 1 and 2 examine the state of the discourses on postmodernism and feminist art in Korea and how such lines of thought intersected with, categorized and represented Lee's art. Chapter 1 discusses the debates over postmodernism and postmodernity between Korean modernist critics and Minjung misul [people's art] critics. By mapping this controversy, the chapter examines how discourses of Korean postmodernism defined Lee's art and what such discourses missed in the process of selecting and classifying the artist as a "new generation postmodernist." Chapter 2 examines the development of Korean feminist art and how Lee's practice was placed within the discourses of Korean feminist art. While Lee has been regarded as a new generation or postmodern feminist artist, the artist herself has refused multiple times to be named a feminist. This chapter searches for the causes of her refusal.Chapter 3 consists of two sections. The first section examines essays on Lee's art in international journals and catalogs, in order to grasp how the artist's works have been classified and defined outside Korea. Lee's interviews are also examined to see what differences can be found between the artist's own interpretation of her practice and interpretations by critics in Korea and abroad. The focus here is on the artist's Cyborgs, Monsters, and Anagrams - combinations of cyborgs and monsters - in relation to Donna Haraway's "A Manifesto for Cyborgs" and debates in cyberfeminism. The second section focuses on the mechanisms of art institutions in the global era, which have created the international brand name "Lee Bul." With reference to Julian Stallabrass's Art Incorporated: The Story of Contemporary Art and David Harvey's concept of "time-space compression" as elaborated in The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change, this section questions the utopian promotion of globalization, showing that even recent exhibitions that have attempted to escape a Euro-American narrative of feminist art have fallen into a dubious uniformity. This section also discusses the trend of internationalization in the Korean art scene since the end of the 1980s - the starting point of Korean biennales, international art fairs, and the growth of the art market.Drawing on Homi Bhabha's postcolonialist concept of "mimicry," the final chapter attempts to answer the question, how can a Korean woman artist speak in the globalized art world? This section looks at Lee's dystopian architectural models, which, starting from 2005, incorporated symbols of Korean modern history, as well as utopian Western symbols of modernist development. How can a non-Western woman artist have her say while both appealing to the interests of the globalized art world and challenging the Western male-centered art world with a different voice?

ISBN: 9798664702729Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Haraway, Donna

Can the Subaltern Artist Speak? Postmodernist Theory, Feminist Practice, and the Art of Lee Bul.
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500 $a Source: Dissertations Abstracts International, Volume: 82-03, Section: A.
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502 $a Thesis (Ph.D.)--State University of New York at Binghamton, 2020.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation serves two purposes: first, to examine how a non-Western woman artist can speak in a globalized art world; second, to analyze the critical discourses of Korean contemporary art starting from the late 1980s - postmodernism, feminism, and globalization.From the late 1980s to the early 1990s, the Korean art world encountered a significant paradigm shift. The end of the Cold War, the fall of the military dictatorship and the inauguration of a civilian government, and the advent of consumer capitalism opened a new era of cultural and artistic pluralism. At this point, postmodernism and feminism were introduced to the Korean art world from the Western art world. However, postmodernism and feminism in Korean art were also specific, distinct discursive formations and practices. When a Korean woman artist spoke, it was at the intersection of Korean and international (specifically Western) discourses on art.This dissertation provides a case study of a Korean woman artist, Lee Bul (b. 1964), who has been considered an exemplary postmodern feminist artist. Chapters 1 and 2 examine the state of the discourses on postmodernism and feminist art in Korea and how such lines of thought intersected with, categorized and represented Lee's art. Chapter 1 discusses the debates over postmodernism and postmodernity between Korean modernist critics and Minjung misul [people's art] critics. By mapping this controversy, the chapter examines how discourses of Korean postmodernism defined Lee's art and what such discourses missed in the process of selecting and classifying the artist as a "new generation postmodernist." Chapter 2 examines the development of Korean feminist art and how Lee's practice was placed within the discourses of Korean feminist art. While Lee has been regarded as a new generation or postmodern feminist artist, the artist herself has refused multiple times to be named a feminist. This chapter searches for the causes of her refusal.Chapter 3 consists of two sections. The first section examines essays on Lee's art in international journals and catalogs, in order to grasp how the artist's works have been classified and defined outside Korea. Lee's interviews are also examined to see what differences can be found between the artist's own interpretation of her practice and interpretations by critics in Korea and abroad. The focus here is on the artist's Cyborgs, Monsters, and Anagrams - combinations of cyborgs and monsters - in relation to Donna Haraway's "A Manifesto for Cyborgs" and debates in cyberfeminism. The second section focuses on the mechanisms of art institutions in the global era, which have created the international brand name "Lee Bul." With reference to Julian Stallabrass's Art Incorporated: The Story of Contemporary Art and David Harvey's concept of "time-space compression" as elaborated in The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change, this section questions the utopian promotion of globalization, showing that even recent exhibitions that have attempted to escape a Euro-American narrative of feminist art have fallen into a dubious uniformity. This section also discusses the trend of internationalization in the Korean art scene since the end of the 1980s - the starting point of Korean biennales, international art fairs, and the growth of the art market.Drawing on Homi Bhabha's postcolonialist concept of "mimicry," the final chapter attempts to answer the question, how can a Korean woman artist speak in the globalized art world? This section looks at Lee's dystopian architectural models, which, starting from 2005, incorporated symbols of Korean modern history, as well as utopian Western symbols of modernist development. How can a non-Western woman artist have her say while both appealing to the interests of the globalized art world and challenging the Western male-centered art world with a different voice?
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