{"id":38528,"date":"2022-04-01T09:22:38","date_gmt":"2022-04-01T00:22:38","guid":{"rendered":"https:\/\/clumsy.site\/en\/?p=38528"},"modified":"2022-10-28T09:14:39","modified_gmt":"2022-10-28T00:14:39","slug":"geometry-in-rebellion","status":"publish","type":"post","link":"https:\/\/clumsy.site\/en\/blog-geometry-in-rebellion\/","title":{"rendered":"Geometry in Rebellion: Mary Heilmann 01"},"content":{"rendered":"\n\n\tGeometry in Rebellion: Mary Heilmann
\n\ubc18\uace8\uc758 \uae30\ud558\ud559: \uba54\ub9ac \ud5e4\uc77c\ub9cc\n\t

01<\/p>\n\tText by John Yau \uc874 \uc57c\uc6b0
\nTranslation by Mimi Park \ubc15\uc0c1\ubbf8\n\t

Many writers have advanced that the rousing force behind Mary Heilmann’s move from sculpture to painting was her contrariness. She made this move in 1970, during the waning days of Minimalism, Pop Art, and Color Field painting, at the cusp of a decade dominated by Conceptual Art. It was an unlikely direction to go in, because many believed that painting had entered a terminal condition. Heilmann’s move was further stigmatized by the fact that, if women artists were still hardly recognized in the art world, the situation was particularly bad for painters. While “contrariness” might adequately describe her motivation, it does not account for what happened once she made the switch. Was Heilmann’s “antagonistic move,” as she called it, enough to push her into an all-or-nothing gamble – that something new could be done in a medium that many considered exhausted? As I see it, this rather self-effacing quote does not indicate her confidence, determination, and thoroughness: she did not simply move into painting, she tackled it head-on in ways that continue to reverberate.<\/p>\n\t\t\t\t\"Joseph\n\t

As a student who studied poetry in the Bay Area in 1963, and who had been aware of the North Beach literary scene and the City Lights bookstore since she was in high school, Heilmann understood that defiance could be a wager as well as a leap of faith. At least that’s my view, perhaps that’s because I am a poet and recognize that poetry is made of letters and words. Instead of regarding this material condition as a limitation, poets embrace it.<\/p>\n\t

The poets she heard read included Robert Creeley and Denise Levertov. Something Creeley wrote about Levertov came to mind while writing this essay and thinking of Heilmann:<\/p>\n

In a sense she was a wide-awake dreamer; a practical visionary with an indomitable will; a passionate, whimsical heart committed to an adamantly determined mind.<\/p>\n\t\t\t\t\"Donald\n\t

I think Heilmann’s relationship to limitation underlies the decision she made to begin painting, something she had never studied.\u00a0 Growing up in both southern and northern California, she had first hand experience of how freedom and rebellion could become manifest, from surfing to music to making art out of any material. As a student working in the sculpture department at the University of California, Berkeley, she studied ceramics with Peter Voulkos and Jim Melchert. On a school trip to Los Angeles, organized by Melchert, she saw Bruce Nauman’s fiberglass objects at Nicholas Wilder, and decided to meet him. At the time, Nauman was still a student at the University of California, Davis, which is a short distance from Berkeley. Heilman took a tutorial with William T. Wiley, Nauman’s teacher, and got to know both men. She saw early works by Nauman, such as\u00a0Henry Moore Bound to Fail<\/i>\u00a0(1967). In 1968, after finishing her graduate requirements, she moved to New York City.<\/p>\n\t\t\t\t\"Mary\n\t

Working as a sculptor in New York in the late 1960s, Heilmann used such non-art materials as plywood, rayon flocking, fiberglass, and roofing tar. She rightly felt that she was in touch with what was going on at the time, and, in fact, her work met the expectations set up by Donald Judd’s definition of a “specific object”: it need only be interesting.\u00a0 Making work that fit in, that was of its time, however, did not seem to gain her any recognition. According to Elizabeth Armstrong, Heilmann’s move towards painting was precipitated by repeated rejections:<\/p>\n

She was extremely disappointed that her work was not selected
for several group exhibitions that, in her estimation, captured the zeitgeist, and her exclusion from\u00a0Anti-Illusion: Procedures\/Materials<\/i>,\u00a0an exhibition organized by Marcia Tucker and James Monte at\u00a0the Whitney Museum of American Art in 1969, was especially\u00a0devastating.<\/p>\n

This is how Heilmann described the switch from sculpture to painting:<\/p>\n

What I turned to was a materials-based sort of conceptual, anti-aesthetic, earth-colored, ironic painting that was hard to look at.<\/p>\n\t\t\t\t\"\"\n\t

Heilmann may have been disappointed by the lack of reception, but, instead of choosing to work in a more fashionable medium, such as video, she turned to painting. More importantly, she rejected both Color Field painting\u00a0 and the idea of taking the hand out of art. As a student of ceramics, Heilmann learned that direct contact with one’s materials is not old-fashioned.\u00a0 Instead, she took the lessons she learned from studying ceramics and from making sculpture and transformed them into a direct engagement with painting.\u00a0 And yet, while she may have initially made “ironic painting that was hard to look at,” she did not maintain this attitude for very long. Rather, she embraced her own life, which included growing up in the surfing culture of Southern California from the age of 7 to 13, and moving with her family to Northern California, where she listened to poets and studied ceramics. In her work, Heilmann embraced aspects of both scenes, from surf culture, to highways and music, to ceramics and saturated color.<\/p>\n

By welcoming her own life, the other crucial thing she did was reject the received belief that form (or objectivity) was all, and that content and subjectivity (along with space) had to be squeezed out, as Frank Stella had done in his “black” paintings. Instead of conforming to the rules – as she\u00a0 was arguably doing with her “specific objects” – she essentially challenged head-on Judd’s pronouncement on painting:<\/p>\n

The main thing wrong with painting is that it is a rectangular plane placed flat against the wall. A rectangle is a shape itself; it is obviously the whole shape; it determines and limits the arrangement of whatever is on or inside of it. (Judd)<\/p>\n

It is one thing to be rebellious when everyone around you is, and a very different matter to be insubordinate in an area where almost no else is. Heilmann went from making “specific objects” to applying paint to “a rectangular plane placed flat against the wall.”\u00a0This move was not as straightforward as one might expect.<\/p>\n\t

By using a squeegee and a brush, and working on a stretched painting that was placed on a table, Heilmann chose to let the paint that dripped over the sides remain as part of the work. This residue, which is the result of a process, made the work into both a painting and a specific object, as well as opened up a space for the artist that stood apart from Minimalism, Pop Art, and Color Field painting. The residue was the stuff the squeegee pushed off the painting’s face but was still part of the work, if you looked at the sides, which meant the painting was just a surface to be looked at. In retrospect, it is apparent that Heilmann began her career by refusing to do what was expected of her.\u00a0 No wonder she has been a hero to so many younger artists.<\/p>\n\t\t\t\t\"\"\n\t

The paintings in this exhibition were done in acrylic over a four-year period (1975-78) in colors limited to the primaries (red, yellow, and blue). So not only did Heilmann choose to paint on a rectangular plane, she picked the colors associated with purist abstraction, those of Piet Mondrian and Barnett Newman. She took the bull (or modernist geometric abstraction, in both painting and in sculpture) by the horns. Nor she did she stop there: she used both a squeegee – an instrument associated with Color Field painting – and a brush (an old fashioned instrument) to apply her paint, resulting in wobbly bands that undermined the orthodoxies associated with geometric abstraction and post-painterly practice. The wobbly bands acknowledged the rectangle’s shape, while the paint dripping down the painting’s sides subverted the rectangle’s limitations.<\/p>\n

Refusing to be hemmed in, Heilmann rejected purity and orthodoxy from the outset with breathtaking economy. This approach might have initially been “an antagonistic move,” but it has changed over time to become a way to absorb and remake Abstract Expressionism, Minimalism, and English Romantic painting, along with the work of a wide range of artists, from John Constable to Barnett Newman, Georgia O’Keeffe to Allan D’Arcangelo, all while making what is clearly a Mary Heilmann painting.<\/p>\n

Instead of rejecting geometric abstraction, the bread-and-butter of Minimalist sculpture and painting, Heilmann unzipped it, showing that it could become expressive. She seems to have intuited this possibility from the beginning, perhaps because of her background in ceramics, where forms could be imbued with feeling. The other thing that she might have gotten from working in clay is the realization that perfection is not always desirable; the hand does not have to become machine-like. The process of making them could, in fact, be expressive. Done in primary colors, Heilmann’s geometric paintings come across as both handmade and homemade. Nothing like them was being made at the time. They pushed back against the conventions associated with geometric abstraction – objectivity, crisp edges, rigid forms, and uniformity. (to be continued)<\/p>\n\t

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\ud5e4\uc77c\ub9cc\uc740 \uc778\uc815\uc744 \ubc1b\uc9c0 \ubabb\ud574\uc11c \uc2e4\ub9dd\ud588\uc9c0\ub9cc, \ube44\ub514\uc624\ucc98\ub7fc \uc720\ud589\ud558\ub294 \ubbf8\ub514\uc5c4\uc744 \uc120\ud0dd\ud558\ub294 \ub300\uc2e0 \ud68c\ud654\ub85c \ub3cc\uc544\uc130\ub2e4. \ub354 \uc911\uc694\ud558\uac8c\ub294 \uceec\ub7ec\ud544\ub4dc \ud68c\ud654\ub3c4 \ubc84\ub9ac\uace0, “\uc190\uc744 \uc548 \uc4f0\ub294” \uc791\uc5c5\ub3c4 \ub3d9\uc2dc\uc5d0 \uac70\ubd80\ud588\ub2e4. \ub3c4\uc608\ub97c \ud1b5\ud574\uc11c \ud5e4\uc77c\ub9cc\uc740 \uc7ac\ub8cc\uc640 \uc9c1\uc811 \uc811\ucd09\ud558\ub294 \ubc29\uc2dd\uc774 \uad6c\uc2dd\uc774 \ub420 \uc218 \uc5c6\ub2e4\ub294 \uc0ac\uc2e4\uc744 \ubc30\uc6e0\uace0, \ub3c4\uc608\uc640 \uc870\uac01\uc744 \ud1b5\ud574 \ubc30\uc6b4 \uac83\uc744 \ud68c\ud654\uc758 \uc7ac\ub8cc\ub97c \ub2e4\ub8e8\ub294 \ub370 \uc801\uc6a9\ud588\ub2e4.<\/p>\n

\uadf8\ub140\ub294 \ucc98\uc74c\uc5d0 “\uccd0\ub2e4\ubcf4\uae30 \ud798\ub4e0 \uc544\uc774\ub7ec\ub2c8\ud55c \uadf8\ub9bc”\uc744 \uadf8\ub9ac\uace0 \uc2f6\ub2e4\uace0 \ud588\uc9c0\ub9cc \uadf8 \uacb0\uc2ec\uc774 \uc624\ub798 \uac00\uc9c0\ub294 \ubabb\ud588\ub2e4. \uadf8\ubcf4\ub2e8 \uadf8\ub140\ub294 \uc790\uc2e0\uc758 \uc0b6\uc744 \uaef4\uc548\uc558\ub2e4. 7\uc0b4\ubd80\ud130 13\uc0b4\uae4c\uc9c0 \ub0a8\ubd80 \uce98\ub9ac\ud3ec\ub2c8\uc544\uc5d0\uc11c \uc11c\ud551 \ubb38\ud654\uc5d0\uc11c \uc790\ub77c\ub09c \uac83, \uadf8 \ud6c4\uc5d0 \uac00\uc871\uacfc \ud568\uaed8 \ubd81\ubd80 \uce98\ub9ac\ud3ec\ub2c8\uc544\ub85c \uc774\uc0ac\uac00\uc11c \uc2dc\uc640 \ub3c4\uc790\uae30\ub97c \uacf5\ubd80\ud558\ub358 \uacbd\ud5d8\uc744 \ub9d0\uc774\ub2e4. \ud5e4\uc77c\ub9cc\uc740 \uc791\uc5c5\uc5d0\uc11c \ub450 \uc9c0\uc5ed\uc758 \ubb38\ud654\uc5d0\uc11c \uccb4\ud5d8\ud55c \uac83\ub4e4\uc744, \uc11c\ud504 \ubb38\ud654\uc640 \uc74c\uc545, \ub3c4\uc790\uae30\uc640 \ucc44\ub3c4\uac00 \uac15\ud55c \uc0c9\uae4c\uc9c0\ub97c \ubaa8\ub450 \ud3ec\ud568\uc2dc\ucf30\ub2e4.<\/p>\n

\uc790\uc2e0\uc758 \uc0b6\uc744 \ubc1b\uc544\ub4e4\uc774\ub294 \ub3d9\uc2dc\uc5d0 \uadf8\ub140\uac00 \ud55c \ub610 \ud55c\uac00\uc9c0 \uc911\uc694\ud55c \uc77c\uc740 \ud615\ud0dc\uac00 \uc804\ubd80\ub77c\ub294 \uae30\uc874\uc758 \ubbff\uc74c, \uadf8\ub9ac\uace0 \ud504\ub7ad\ud06c \uc2a4\ud154\ub77c\uac00 \uadf8\uc758 “\ube14\ub799 \ud398\uc778\ud305”\uc5d0\uc11c \ud55c \uac83\ucc98\ub7fc \ub0b4\uc6a9\uacfc \uc8fc\uad00\uc131\uc740 \ub0b4\ubc84\ub824\uc57c \ud55c\ub2e4\ub294 \uae30\uc874\uc758 \ubbff\uc74c\uc744 \uac70\ubd80\ud55c \uac83\uc774\ub2e4. \uadf8\ub140\uac00 \ucc98\uc74c\uc5d0 “\uad6c\uccb4\uc801 \uc624\ube0c\uc81c”\ub97c \ub9cc\ub4e4\uba74\uc11c \uc800\ub4dc\uc758 \ub178\uc120\uc744 \ub530\ub790\ub2e4\uba74, \uc774\uc81c\ub294 \uc800\ub4dc\uc758 \ud68c\ud654\uc5d0 \ub300\ud55c \uc0dd\uac01\uc5d0 \uc815\uba74\uc73c\ub85c \ubc18\uae30\ub97c \ub4e0 \uac83\uc774\ub2e4.<\/p>\n

\ud68c\ud654\uac00 \uac16\ub294 \uc8fc\ub41c \ud55c\uacc4\ub294 \uc0ac\uac01\ud615\uc758 \ud3c9\uba74\uc774 \ubcbd\uc5d0 \ub0a9\uc791\ud558\uac8c \uac78\ub824\uc788\ub2e4\ub294 \uc0ac\uc2e4\uc774\ub2e4. \uc0ac\uac01\ud615\ub3c4 \ud615\ud0dc\uc774\uace0, \uc774\uac74 \uba85\ubc31\ud558\uac8c \uc644\uc804\ud55c \ud615\ud0dc\uc774\ub2e4. \uc774\ub294 \uadf8 \uc704\ub098 \ub610\ub294 \uc548\uc5d0 \ubb34\uc5c7\uc774 \ub4e4\uc5b4\uac00\ub4e0\uc9c0 \uadf8 \uad6c\uc131\uc744 \uacb0\uc815\ud558\uace0 \ub610\ud55c \uc81c\uc57d\uc744 \uc900\ub2e4.\u00a0 (\ub3c4\ub110\ub4dc \uc800\ub4dc)<\/p>\n

\uc8fc\ubcc0\uc5d0 \ub2e4\ub978 \uc774\ub4e4\ub3c4 \ubaa8\ub450 \ubc18\ud56d\ud560 \ub54c \ud568\uaed8 \ubc18\ud56d\ud558\ub294 \uac83\uacfc \uc544\ubb34\ub3c4 \ub9de\uc11c\uc9c0 \uc54a\uc744 \ub54c \ud63c\uc790 \ub9de\uc11c\ub294 \uac83\uc740 \ub9e4\uc6b0 \ub2e4\ub978 \uc77c\uc774\ub2e4. \ud5e4\uc77c\ub9cc\uc740 “\uad6c\uccb4\uc801 \uc624\ube0c\uc81c”\ub97c \ub9cc\ub4e4\ub2e4\uac00 “\ubcbd\uc5d0 \ub0a9\uc791\ud558\uac8c \ub9e4\ub2ec\ub9b0 \uc0ac\uac01\ud615 \ud3c9\uba74”\uc5d0 \uadf8\ub9bc\uc744 \uadf8\ub9ac\ub294 \uc77c\ub85c \uc62e\uaca8\uac14\ub2e4. \uc774 \uc804\ud658\uc740 \uc6b0\ub9ac\uac00 \uc0dd\uac01\ud558\ub294 \uac83\ucc98\ub7fc \uadf8\ub807\uac8c \uac04\ub2e8\ud55c \uc77c\uc774 \uc544\ub2c8\ub2e4.<\/p>\n\t\t\t\t\"\"\n\t

\ud5e4\uc77c\ub9cc\uc740 \ud14c\uc774\ube14 \uc704\uc5d0 \uce94\ubc84\uc2a4\ub97c \uc62c\ub824\ub193\uace0 \uc2a4\ud034\uc9c0\uc640 \ubd93\uc744 \uc774\uc6a9\ud574 \uadf8\ub9bc\uc744 \uadf8\ub838\ub294\ub370, \ubb3c\uac10\uc774 \uc606\uc73c\ub85c \ud758\ub7ec\ub0b4\ub9ac\ub3c4\ub85d \ud588\uace0, \ud758\ub7ec\ub0b4\ub9b0 \ubb3c\uac10\ub3c4 \uc791\uc5c5\uc758 \uc77c\ubd80\ub85c \uc5ec\uacbc\ub2e4. \uc774 \ud754\uc801, \uc989 \uacfc\uc815\uc758 \uacb0\uacfc\ub85c\uc11c\uc758 \ud754\uc801\uc73c\ub85c\uc778\ud574 \uadf8\ub140\uc758 \uc791\uc5c5\uc740 \ud68c\ud654\uac00 \ub418\uae30\ub3c4 \ud558\uace0 \uad6c\uccb4\uc801 \uc624\ube0c\uc81c\uac00 \ub418\uae30\ub3c4 \ud55c\ub2e4. \ub3d9\uc2dc\uc5d0 \ubbf8\ub2c8\uba40\ub9ac\uc998, \ud31d\uc544\ud2b8, \uceec\ub7ec\ud544\ub4dc \ud68c\ud654\ub85c\ubd80\ud130 \uac70\ub9ac\ub97c \ub454 \uc791\uac00\uc5d0\uac8c \uac00\ub2a5\uc131\uc774 \uc5f4\ub9ac\ub3c4\ub85d \ud574\uc900\ub2e4. \ud758\ub7ec\ub0b4\ub9b0 \ubb3c\uac10\uc740 \uce94\ubc84\uc2a4\uc758 \uc55e\uba74\uc5d0\uc11c \uc2a4\ud034\uc9c0\ub85c \ubc00\uc5b4\ub0b8 \uac83\uc774\uba74\uc11c \uc791\ud488\uc758 \uc77c\ubd80\uc778\ub370, \uc606\uba74\uc744 \ubcf4\uba74, \ud68c\ud654\ub77c\ub294 \uac83\uc774 \ud45c\uba74\uc5d0 \ubd88\uacfc\ud558\ub2e4\ub294 \uac83\uc744 \uc54c \uc218 \uc788\ub2e4. \ub3cc\uc774\ucf1c\ubcf4\uba74 \ud5e4\uc77c\ub9cc\uc740 \ub2e4\ub978 \uc0ac\ub78c\ub4e4\uc758 \uae30\ub300\ub97c \uac70\ubd80\ud558\uba74\uc11c \uc791\uac00 \uc0dd\ud65c\uc744 \uc2dc\uc791\ud55c \uac83\uc774 \uba85\ubc31\ud574\uc9c4\ub2e4. \ub9ce\uc740 \uc80a\uc740 \uc791\uac00\ub4e4\uc5d0\uac8c \uadf8\ub140\uac00 \uc601\uc6c5\uc778 \uac83\uc774 \uacb0\ucf54 \uc6b0\uc5f0\uc774 \uc544\ub2c8\ub2e4.<\/p>\n

\uc774\ubc88 \uc804\uc2dc\uc5d0 \ud3ec\ud568\ub41c \uc791\uc5c5\ub4e4\uc740 4\ub144\uac04 (1975-1978) \uc544\ud06c\ub9b4 \ubb3c\uac10\uc73c\ub85c, \uc0bc\uc6d0\uc0c9(\ube68\uac15, \ub178\ub791, \ud30c\ub791)\uc73c\ub85c\ub9cc \uadf8\ub9b0 \uc791\ud488\ub4e4\uc774\ub2e4. \ud5e4\uc77c\ub9cc\uc740 \uc0ac\uac01\ud615 \ud3c9\uba74\uc5d0 \uc791\uc5c5\ud558\uae30\ub85c \ud588\uc744 \ubfd0 \uc544\ub2c8\ub77c \ud53c\uc5e3 \ubaac\ub4dc\ub9ac\uc548\uc774\ub098 \ubc14\ub137 \ub274\uba3c \uac19\uc740 \uc21c\uc218 \ucd94\uc0c1\uc791\uac00\ub4e4\uc774 \uc8fc\ub85c \uc0ac\uc6a9\ud55c \uc6d0\uc0c9\uc744 \uc120\ud0dd\ud588\ub2e4. \uadf8\ub140\ub294 \ud669\uc18c(\ub610\ub294 \ubaa8\ub354\ub2c8\uc998\uc758 \uae30\ud558\ud559\uc801 \ucd94\uc0c1, \ud68c\ud654\ub098 \uc870\uac01 \ubaa8\ub450\uc5d0\uc11c)\uc758 \ubfd4\uc744 \ub450 \uc190\uc73c\ub85c \uc7a1\uc740 \uac83\uc774\ub2e4. \uadf8\ub140\ub294 \uc5ec\uae30\uc11c \uba48\ucd94\uc9c0 \uc54a\uc558\ub2e4. \uceec\ub7ec\ud544\ub4dc \uc791\uac00\ub4e4\uc774 \uc0ac\uc6a9\ud588\uc744\ub9cc\ud55c \ub3c4\uad6c\uc778 \uc2a4\ud034\uc9c0\uc640 \uad6c\uc2dd \ub3c4\uad6c\uc778 \ubd93\uc744 \ubaa8\ub450 \uc0ac\uc6a9\ud588\ub2e4. \uadf8 \uacb0\uacfc \uae30\ud558\ud558\uc801 \ucd94\uc0c1\uc774\ub098 \ucd94\uc0c1\ud45c\ud604\uc8fc\uc758\uc801\uc778 \ud615\ud0dc\uc640\ub294 \uad6c\ubd84\ub418\ub294, \uad6c\ubd88\uad6c\ubd88\ud55c \ub760\ub4e4\uc744 \ub0b3\uc558\ub2e4. \uad6c\ubd88\uad6c\ubd88\ud55c \ub760\ub294 \uc0ac\uac01\ud615\uc774\ub77c\ub294 \ud615\ud0dc\ub97c \uc778\uc815\ud558\uc9c0\ub9cc, \uc606\uc73c\ub85c \ud758\ub7ec\ub0b4\ub9b0 \ubb3c\uac10\uc758 \uc874\uc7ac\ub294 \uc0ac\uac01\ud615\uc758 \ud55c\uacc4\ub97c \ub4a4\uc9d1\ub294\ub2e4.<\/p>\n

\ud5e4\uc77c\ub9cc\uc740 \uc2dc\uc791\ubd80\ud130 \ub180\ub784\uc815\ub3c4\uc758 \ub2e8\uc21c\ud568\uc73c\ub85c \uc21c\uc218\uc640 \uad50\uc870\uc8fc\uc758\ub97c \uac70\ubd80\ud588\ub2e4. \uc774\ub7ec\ud55c \uc811\uadfc \ubc29\uc2dd\uc774 \ucc98\uc74c\uc5d0 “\ubc18\ub300 \ud589\ubcf4”\uc600\uc744\uc9c0 \ubaa8\ub974\uaca0\uc9c0\ub9cc, \uc774\ub294 \uc2dc\uac04\uc774 \uc9c0\ub098\uba74\uc11c \ubcc0\ud654\ud574\uc11c \uacb0\uad6d \ucd94\uc0c1\ud45c\ud604\uc8fc\uc758, \ubbf8\ub2c8\uba40\ub9ac\uc998, \uc601\uad6d\uc758 \ub0ad\ub9cc\uc8fc\uc758 \ud68c\ud654, \uadf8\ub9ac\uace0 \ub2e4\ub978 \ud3ed\ub113\uc740 \uc608\uc220\uac00\ub4e4 \uc989 \uc874 \ucee8\uc2a4\ud130\ube14\uc5d0\uc11c \ubc14\ub137 \ub274\uba3c, \uc870\uc9c0\uc544 \uc624\ud0a4\ud504, \uc568\ub7f0 \ub2e4\uce78\uc824\ub85c\uae4c\uc9c0 \ud761\uc218\ud558\uba74\uc11c \ub3d9\uc2dc\uc5d0 \uc7ac\uc815\uc758\ud558\ub294 \ubc29\uc2dd\uc774 \ub418\uc5c8\ub2e4. \uc774\ub294 \ub3d9\uc2dc\uc5d0 \uba85\ubc31\ud558\uac8c \uba54\ub9ac \ud5e4\uc77c\ub9cc\uc774\ub77c\ub294 \uc790\uc2e0\uc758 \uadf8\ub9bc\uc744 \ub0b3\ub294\ub2e4.<\/p>\n

\ubbf8\ub2c8\uba40\ub9ac\uc998 \uc870\uac01\uacfc \ud68c\ud654\uc640 \ud568\uaed8 \uac00\ub294 \uae30\ud558\ud559\uc801 \ucd94\uc0c1\uc744 \uac70\ubd80\ud558\ub294 \ub300\uc2e0 \ud5e4\uc77c\ub9cc\uc740 \uc774\ub97c \ud480\uc5b4\ud5e4\uccd0 \ud45c\ud604\uc801\uc774 \ub420 \uc218 \uc788\ub2e4\ub294 \uac83\uc744 \ubcf4\uc5ec\uc8fc\uc5c8\ub2e4. \uadf8\ub140\ub294 \ucc98\uc74c\ubd80\ud130 \uc774 \uac00\ub2a5\uc131\uc744 \uac10\uc9c0\ud588\ub358 \uac83 \uac19\ub2e4. \uc544\ub9c8\ub3c4 \ub3c4\uc608\ub97c \uacf5\ubd80\ud588\uae30\uc5d0, \uadf8\uacf3\uc5d0\uc11c \ud615\ud0dc\uac00 \uc815\uc11c\ub85c \ucc44\uc6cc\uc9c8 \uc218 \uc788\ub2e4\ub294 \uac83\uc744 \ubcf4\uc558\uae30 \ub54c\ubb38\uc77c\uc9c0\ub3c4 \ubaa8\ub978\ub2e4. \uadf8\ub140\uac00 \ub3c4\uc790\uae30 \uc791\uc5c5\uc744 \ud558\uba74\uc11c \ub610 \ud55c\uac00\uc9c0 \ubc30\uc6b4 \uac83\uc740 \uc644\ubcbd\ud568\uc774\ub77c\ub294 \uac83\uc774 \uc5b8\uc81c\ub098 \uac00\uc7a5 \uc88b\uc740 \uac83\uc774 \uc544\ub2c8\ub77c\ub294 \uc790\uac01, \uc190\uc740 \uae30\uacc4 \uac19\uc9c0 \uc54a\uc544\ub3c4 \ub41c\ub2e4\ub294 \uc0ac\uc2e4\uc77c\uc9c0\ub3c4 \ubaa8\ub978\ub2e4. \uacfc\uc815\uc740 \uc2e4\uc81c\ub85c \ud45c\ud604\uc801\uc77c \uc218 \uc788\ub2e4\ub294 \uac83\uc774\ub2e4. \uc6d0\uc0c9\uc73c\ub85c \uadf8\ub9b0 \ud5e4\uc77c\ub9cc\uc758 \uae30\ud558\ud559\uc801 \ud615\ud0dc\uc758 \uadf8\ub9bc\ub4e4\uc740 “\ud578\ub4dc\uba54\uc774\ub4dc”\uc640 “\ud648\uba54\uc774\ub4dc”\uc758 \uc131\uaca9\uc774 \ubaa8\ub450 \ubcf4\uc778\ub2e4. \ub2f9\uc2dc \uadf8\ub7f0 \uadf8\ub9bc\uc740 \uc5c6\uc5c8\ub2e4. \uc774\ub4e4\uc740 \uae30\ud558\ud559\uc801 \ucd94\uc0c1\uc774\ub77c\ub294 \uac83\uc774 \ubc18\ub4dc\uc2dc \uac1d\uad00\uc801\uc774\uace0, \ub9d0\ub054\ud55c \uac00\uc7a5\uc790\ub9ac \ucc98\ub9ac\uc640 \ub2e8\ub2e8\ud558\uace0 \ub3d9\uc77c\ud55c \ud615\ud0dc\ub85c \uc774\ub8e8\uc5b4\uc9c4\ub2e4\ub294 \uac83\uc5d0 \ubc18\uae30\ub97c \ub4e0 \uac83\uc774\ub2e4. (\uacc4\uc18d)<\/p>\n\t

RELATED POSTS<\/p>\n\tThe CLUMSY Plan
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\n\uc774\uc6a9\uc57d\uad00<\/a>\u00a0 \uc815\uae30\uacfc\uae08\uc774\uc6a9\uc57d\uad00<\/a> \u00a0\uac1c\uc778\uc815\ubcf4\ucde8\uae09\ubc29\uce68<\/a>\n\n","protected":false},"excerpt":{"rendered":"

Geometry in Rebellion: Mary Heilmann \ubc18\uace8\uc758 \uae30\ud558\ud559: \uba54\ub9ac \ud5e4\uc77c\ub9cc 01 Text by John Yau \uc874 \uc57c\uc6b0 Translation by Mimi Park \ubc15\uc0c1\ubbf8 Many writers have advanced that the rousing force behind Mary Heilmann’s move from sculpture to painting was her contrariness. She made this move in 1970, during the waning days of Minimalism, Pop Art, and…<\/p>\n","protected":false},"author":321,"featured_media":36682,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"tpl-no-header-footer.php","format":"standard","meta":{"footnotes":""},"categories":[163,158],"tags":[29],"class_list":["post-38528","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-john-yau","category-writing","tag-john-yau"],"_links":{"self":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38528","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/users\/321"}],"replies":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/comments?post=38528"}],"version-history":[{"count":2,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38528\/revisions"}],"predecessor-version":[{"id":38922,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38528\/revisions\/38922"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/media\/36682"}],"wp:attachment":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/media?parent=38528"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/categories?post=38528"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/tags?post=38528"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}