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On Currents: How to Inscribe Pattern...

Oh, Hyeongjin.

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On Currents: How to Inscribe Patterns of the Pacific in Contemporary American Art History.

Record Type:	Electronic resources : Monograph/item
Title/Author:	On Currents: How to Inscribe Patterns of the Pacific in Contemporary American Art History./
Author:	Oh, Hyeongjin.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2024,
Description:	386 p.
Notes:	Source: Dissertations Abstracts International, Volume: 85-12, Section: A.
Contained By:	Dissertations Abstracts International85-12A.
Subject:	Art history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31300198
ISBN:	9798383164433

On Currents: How to Inscribe Patterns of the Pacific in Contemporary American Art History.
Oh, Hyeongjin.

On Currents: How to Inscribe Patterns of the Pacific in Contemporary American Art History. - Ann Arbor : ProQuest Dissertations & Theses, 2024 - 386 p.

Source: Dissertations Abstracts International, Volume: 85-12, Section: A.

Thesis (Ph.D.)--University of Minnesota, 2024.

This dissertation investigates portrayals of the Pacific Ocean in recent artistic projects by American Allan Sekula (1951-2013) and South Korean Park Chan-kyong (b. 1965). Their works address globalization's modalities and the aesthetic validity of realism and documentary art. Both embarked on documentary projects around the nineties, capturing the maritime world's material and epistemological excess. Despite perceived speed and connectivity in globalization and the Internet, they reveal that the global economy and artistic exchanges rely even more powerfully on slow, disoriented ocean currents. They move beyond western realist methods and seascape conventions oscillating between romanticized seas outside modernity and seas integrated into the extract economy and the global shipping industry. Their resulting works disrupt myths that global contemporary art is anchored in the cosmopolitan artist's fast air travel and uninterrupted access to art centers. The Pacific's "modalities of movement," products of universal hydraulic principles and unique regional labor and social conditions, transform into the artists' "pictorial methods." These methods-"Wrong Direction," "Vortices," "Elevated Heights," and "Detours"-inscribe globalization's true patterns of movement onto the work.{A0}{A0}This dissertation intervenes in existing scholarship aligned with poststructuralism and critical theory, which views Sekula's work as a derivation from photoconceptualism, including artists like Lawrence Weiner and Adrian Piper. These critics attempt to deconstruct the photographic medium's link to what they perceived to be crude social references, and its "documentary" potential in a traditional sense, although Sekula revitalized the medium's potential for direct political engagement in constantly evolving ways. Critics confine Sekula's maritime projects into western seascape traditions of the panorama and the detail and semiotic realms, dematerializing his "documents" as mere significatory circuits of signs, thus fracturing the semantic plenitude of his texts, images, and captions. This approach effaces the geographic specificities of Sekula's ocean images, treating them as mere backgrounds and eclipsing the ocean's agentive forces and his methods of reenacting maritime labor's perceptual conditions.{A0}Converselly, Park's projects critique the homogenizing global perceptual conditions of the nineties, maintaining the political commitment of his Minjung art colleagues. He adapts and creatively reshapes West-derived documentary methods to capture the distorted ideological landscape and compromised democracy under the the divide peninsula's dictatorships. Though originating from different artistic conventions and shorelines of the Pacific, Sekula and Park's documentary methods converge through their shared interest in depicting globalization's hydraulic modalities. For Sekula, slowness and delay embodied in swirling vortices and elevated heights that disrupt{A0}panoramas and details. For Park, the ocean's disorientation ironically allows detours around the Cold War border, presenting the artist/fisherman as a hybrid icon navigating the Cold War of the divided peninsula and its diasporas.{A0}

ISBN: 9798383164433Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Sekula, Allan

On Currents: How to Inscribe Patterns of the Pacific in Contemporary American Art History.
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500 $a Source: Dissertations Abstracts International, Volume: 85-12, Section: A.
500 $a Advisor: Blocker, Jane M.
502 $a Thesis (Ph.D.)--University of Minnesota, 2024.
520 $a This dissertation investigates portrayals of the Pacific Ocean in recent artistic projects by American Allan Sekula (1951-2013) and South Korean Park Chan-kyong (b. 1965). Their works address globalization's modalities and the aesthetic validity of realism and documentary art. Both embarked on documentary projects around the nineties, capturing the maritime world's material and epistemological excess. Despite perceived speed and connectivity in globalization and the Internet, they reveal that the global economy and artistic exchanges rely even more powerfully on slow, disoriented ocean currents. They move beyond western realist methods and seascape conventions oscillating between romanticized seas outside modernity and seas integrated into the extract economy and the global shipping industry. Their resulting works disrupt myths that global contemporary art is anchored in the cosmopolitan artist's fast air travel and uninterrupted access to art centers. The Pacific's "modalities of movement," products of universal hydraulic principles and unique regional labor and social conditions, transform into the artists' "pictorial methods." These methods-"Wrong Direction," "Vortices," "Elevated Heights," and "Detours"-inscribe globalization's true patterns of movement onto the work.{A0}{A0}This dissertation intervenes in existing scholarship aligned with poststructuralism and critical theory, which views Sekula's work as a derivation from photoconceptualism, including artists like Lawrence Weiner and Adrian Piper. These critics attempt to deconstruct the photographic medium's link to what they perceived to be crude social references, and its "documentary" potential in a traditional sense, although Sekula revitalized the medium's potential for direct political engagement in constantly evolving ways. Critics confine Sekula's maritime projects into western seascape traditions of the panorama and the detail and semiotic realms, dematerializing his "documents" as mere significatory circuits of signs, thus fracturing the semantic plenitude of his texts, images, and captions. This approach effaces the geographic specificities of Sekula's ocean images, treating them as mere backgrounds and eclipsing the ocean's agentive forces and his methods of reenacting maritime labor's perceptual conditions.{A0}Converselly, Park's projects critique the homogenizing global perceptual conditions of the nineties, maintaining the political commitment of his Minjung art colleagues. He adapts and creatively reshapes West-derived documentary methods to capture the distorted ideological landscape and compromised democracy under the the divide peninsula's dictatorships. Though originating from different artistic conventions and shorelines of the Pacific, Sekula and Park's documentary methods converge through their shared interest in depicting globalization's hydraulic modalities. For Sekula, slowness and delay embodied in swirling vortices and elevated heights that disrupt{A0}panoramas and details. For Park, the ocean's disorientation ironically allows detours around the Cold War border, presenting the artist/fisherman as a hybrid icon navigating the Cold War of the divided peninsula and its diasporas.{A0}
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