The Digital Documentation of Materiality in Painting: The Case of Contemporary Korean and British Abstract Art

这项研究的重点是博物馆和文化组织面临的一个困境，即他们如何在尊重艺术品固有品质的同时，以数字方式表现和传播艺术品。进一步的考虑是，他们如何确保他们不会因为数字可视化固有的文化不敏感和偏见而歪曲艺术品。数字领域不存在问题。然而，当分享和传播绘画时，出现了几个问题。这可能是由于材料的微妙之处，对这些作品的简单摄影表现起作用。但这也可能是因为一种更根本的强加，这种强加源于西方的以眼为中心的思想和眼睛至上主义。艺术作品的摄影表现强调一种无实体的视觉阅读，而不是具象的物质体验。视觉文档依赖于环境照明（日光，LED等），这又引入了其他文化预设和偏见。即使是使用动态图像来表现绘画，使用的模型也是电影扫描镜头和特写，与我们实际观看和体验绘画的方式相当不同。我们将考虑20世纪70年代出现的丹塞花画家朴希甫（1931年）、郑相花（1932年）、河钟铉（1935年）、李禹藩（1936年）。他们不仅将绘画视为一种视觉体验，还将其视为一种表演过程，并特别强调将其物理材料（帆布、宣纸、油、铅笔）的特性作为具象行动的触觉和活力基础。这些画家借鉴了文人书画的传统文化，这些传统文化反映了高度重视艺术实践的重要性，作为精炼身心自律的基础的文化价值观，他们追求自己的方法，采用西方绘画重新定义韩国哲学和美学，并将现代艺术的界限扩展到西方艺术家所探索的范围之外。这将通过解决20世纪60年代中期在英国出现的欧普艺术来补充，这是一个与艺术家迈克尔·金德（1917-2009）和布里奇特·莱利（*1931）有关的运动，他们也从事视觉和身体感知的想法。我们将参考一个更长的历史框架，在这个框架中，西方的“帝国主义”愿景将与东亚艺术的触觉、顺序和物质接触划分和框架。这可以在手卷展开和装帧的惯例中得到例证，这些手卷的设计是为了通过触摸和顺序来仔细观察，以便它们符合西方的解释和记录惯例。通过参与当代韩国和欧洲的文献和传播实践，我们将考虑韩国艺术中反映的文化差异在多大程度上，与欧洲和美国相比，在全球化和同质化的时代可能不再那么重要。但这可能会影响到不仅记录当代绘画的惯例，也会影响到回顾性地记录早期绘画的惯例。我们还将探讨实验性和创新性的数字表现形式如何能够更好地捕捉艺术作品的具体和物质阅读。我们将在计算机工程师和学生的研讨会上，研究现代和当代艺术博物馆的画作，以及当代英国和韩国艺术家的作品。我们将讨论新的数字表现和虚拟环境的“模型”，这些模型能够更好地传播这些绘画的感知和具体化体验。我们将与博物馆和学术协会合作，传播我们的研究成果。PI， co - i和4名主要参与者将通过UAL的公开会议传播调查结果。

This research focuses on a dilemma faced by museums and cultural organisations is how they represent and disseminate artworks digitally whilst respecting their inherent qualities. A further consideration is how do they ensure they do not misrepresent artworks due to cultural insensitivities and biases inherent in digital visualization. The digital realm is not in question. However, when sharing and disseminating paintings several problematic issues arise. This may be due to the material subtleties that act against simple photographic representation of such works. But it may also be because of a more fundamental imposition that has its roots in Western ocular-centrism and the primacy of the mind and the eye. Photographic representations of artworks stress a disembodied visual reading as opposed to an embodied and material experience. Visual documentation is dependent on ambient lighting (daylight, LED etc...) which again introduces other cultural presuppositions and biases. Even when moving images are employed to represent paintings, the model used is the cinematic scanning shot and close up and quite foreign to how we actually look and experience paintings. We will consider the Dansaekhwa painters, Park Seo-bo (*1931), Chung Sang Hwa (*1932), Ha Chong-Hyun (*1935) Lee Ufan (*1936), who emerged in the 1970s and approached painting not only as a visual experience but also as a performative process and put special stress on addressing the properties of their physical materials (canvas, rice paper, oil, pencil) as tactile and vibrant grounds for embodied actions. Drawing on still culturally resonant traditions of literati painting and calligraphy, which reflected cultural values that highly regarded the importance of artistic practices as grounds for refining the self-discipline of mind and body, these painters pursued their own methods, adopting Western painting to redefine Korean philosophy and aesthetics, and extending the boundaries of modern art beyond those explored by Western artists. This will be supplemented by addressing the emergence in the UK, in the mid 1960s, of Op Art, a movement associated with artists Michael Kinder (1917-2009) and Bridget Riley (*1931) who were also engaged in ideas of visual and physical perception.We will refer to a longer historical framework in which a Western 'imperialistic' vision set about compartmentalising and framing tactile, sequential, and material encounters with East Asian art. This can be exemplified in the convention of unfurling and framing of handscrolls that were designed to be looked at intimately, through touch and sequentially so that they conformed to Western conventions of interpretation and documentation. Through engaging with contemporary Korean and European practices of documentation and dissemination we will consider the extent to which the cultural differences reflected in Korean art, compared to that of Europe and America, may no longer be as significant in an age of globalization and homogenization. But this may impact on the conventions established to record not just contemporary painting, but also, retrospectively, the paintings of an earlier periods.We will also investigate how experimental and innovative forms of digital representation may be able to better capture the embodied and material reading of artworks. We will examine paintings from Museum of Modern and Contemporary Art, and by contemporary British and Korean artists, during workshops with computer engineers and students. We will discuss 'models' for new digital representations and virtual environments that are better able to disseminate the perceptual and embodied experiences of such paintings. We will disseminate our research in collaboration with museums and scholarly associations. The PI, Co-Is, and 4 key participants will disseminate findings through a public conference at UAL.