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Documentation Art and Korean Bunche Painting Documentation Art and Korean Bunche Painting: An Investigation of Deleuze’s Transcendental Realism through the Painting Process Hyeyoung Maeng December 2017 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Contemporary Arts Lancaster University – Faculty of Arts and Social Sciences Lancaster Institute for the Contemporary Arts Documentation Art and Korean Bunche Painting: An Investigation of Deleuze’s Transcendental Realism through the Painting Process Hyeyoung Maeng December 2017 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Contemporary Arts The complementary component of the submission is in the form of an exhibition of Documentation Art installed at the Peter Scott Gallery. The exhibition will be documented through photographs compiled on a DVD included in the permanent binding of this thesis. Lancaster University – Faculty of Arts and Social Sciences Lancaster Institute for the Contemporary Arts i Declaration of Authorship I declare that the thesis is my own work, and has not been submitted in substantially the same form for the award of a higher degree elsewhere. Hyeyoung Maeng December 2017 ii Acknowledgements I would like to express my deep gratitude to my supervisors, Professor Beth Harland and Dr Richard Rushton, for their constant emotional and academic support throughout my PhD research. I also would like to express thanks to my academic advisor, Dr Linda O Keeffe, for her valuable advice, and to the LICA technicians who have always been helpful and supportive. I also very much appreciate the valuable feedback from my PhD examiners Professor John Ó Maoilearca and Professor Charlie Gere. Special thanks to my family in Korea for their endless love towards me. I especially thank my daughter Sandy Maeng whose artistic talent has been a huge inspiration for my Documentation Art project. I also would like to thank my friend Charles Dorosz for his thorough proofreading of my PhD thesis, and Dr Doris Rohr for her steady encouragement and wise advice. I would like to thank the foremost Korean gayageum player Hwang Byungki, the family of Changbae Hwang, and the Korean painters Seo-bo Park, Seo-ok Suh, and Handong Choi, all of whom generously gave me permission to use their work for my PhD thesis. I appreciate the use of images of beautiful Korean paintings from the collection of the Leeum Museum, Seoul Museum of Art, and the National Museum of Modern and Contemporary Art in Korea. iii Table of Contents Declaration of Authorship ....................................................................................................................... ii Acknowledgements ................................................................................................................................... iii Table of Contents ...................................................................................................................................... iv Abstract ....................................................................................................................................................... vii List of Figures .......................................................................................................................................... viii Introduction ................................................................................................................................................. 1 Chapter 1 Korean Bunche Painting .................................................................................................. 10 1.1 Characteristics of Bunche Painting ........................................................................................ 12 1.1.1 Bunche (Powder Colours) – Layers ............................................................................... 13 1.1.2 Hanji (Korean Paper) – Flexibility ................................................................................. 14 1.2.3 Agyo (Animal Skin Glue) – Contingency ...................................................................... 17 1.2 Bunche Painting in Joseon Dynasty (1392 – 1897)..................................................................... 19 1.2.1 Bunche Painting and Korean Literati Painting .................................................................. 19 1.2.2 Four-Seven Debate as a Birth of True-view Culture ................................................ 34 1.2.2.1 The Aesthetics of the View from Tao ............................................................................. 36 1.2.2.2 Li-Ki Monism and True-view Realism in Art .............................................................. 39 1.2.3 True-view Realism in Jeong Seon’s Landscape Painting ........................................ 42 1.2.4 True-view Realism in Korean Bunche Painting ......................................................... 52 1.3 Modern and Contemporary Bunche Painting .................................................................... 66 1.3.1 Influence of Japanese Painting Nihonga in Bunche painting ................................ 75 1.3.2 Influence of Western Modern Art .................................................................................. 86 Chapter 2. The Process of Bunche Painting as Documentation Art ....................................... 93 2.1 Documentation Art Project ....................................................................................................... 95 2.1.1 Two Girls ................................................................................................................................. 97 2.1.2 Girl with a Shoe ..................................................................................................................... 99 iv 2.1.3 The Memory of San Francisco ....................................................................................... 103 2.1.4 The Sixteen Screens ........................................................................................................... 105 2.2 Process Ontology: Painting as a World in Itself ............................................................. 106 2.2.1 Painting as a Multiplicity ................................................................................................ 108 2.2.2 Painting’s Depth as Difference of Intensity .............................................................. 112 2.2.3 Painting’s Process in Itself as Pure Virtuality ......................................................... 114 2.2.4 Idea as an Intensive Multiplicity .................................................................................. 116 2.2.5 Repetition as Synthesis of Time .................................................................................... 118 2.2.5.1 The Living Present (Habit): Girl with a Shoe .................................................................. 120 2.2.5.2 The Past (Memory): The Memory of San Francisco ............................................... 122 2.2.5.3 The Future (Eternal Return): The Sixteen Screens ................................................... 123 2.2.6 Painting – The Being of the Sensible ........................................................................... 125 2.3 Documentation Art and Process Ontology ....................................................................... 128 Chapter 3 Transcendental Time and Desubjectification ......................................................... 130 3.1 The Memory of San Francisco ............................................................................................... 130 3.1.1 Time-Image and Transcendental Time ...................................................................... 130 3.1.2 Transcendental Time and Memory ............................................................................. 132 3.1.3 Intuition as a Method ....................................................................................................... 136 3.1.3.1 Intuition and Documentation Art ................................................................................. 140 3.2 Sandys ............................................................................................................................................ 144 3.2.1 Desubjectification and Becoming ................................................................................. 144 3.2.2 The Process of Making Sandys ...................................................................................... 148 3.2.2.1 Painting Process .................................................................................................................. 150 3.2.2.2 Video Editing and Production Process .......................................................................... 162 3.2.2.3 Sound .................................................................................................................................. 169 Chapter 4 Transcendental Realism in Art ................................................................................... 175 4. 1 The Univocity of Being ........................................................................................................... 176 v 4.2 The Univocity of Being and Documentation Art ............................................................ 183 4.3 From Transcendental Aesthetic to Transcendental Field ................................................... 186 4.3.1 Transcendental Aesthetic ..............................................................................................
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