Simon Morley
Biographic Data
| ID | 6558361 |
|---|---|
| NAME | Simon Morley |
| GIVEN NAMES | Simon |
| FAMILY NAME | Morley |
| SIGNATURE | MORLEY S |
| AFFILIATIONS | Dankook University |
| ORCID | 0000-0002-7516-1373 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
Haptic Perception and the Non-Western Monochrome
I explore Brazilian, Japanese, and South Korean monochrome and monochromatic art from the late 1950s to the 1980s, and argue that a non- or trans-visual sensory dimension to painting is brought to the fore, in particular in relation to the haptic modality, which involves paying special attention to the tactile and kinesthetic properties of the body. This sets such monochromes apart from the more familiar ones produced in Europe and the United Sta…
Materiality and atmosphere. Two American beat artists painting Europe
The article discusses how European painting heavily influenced two American Beat painters in the post war years. Post-war American painting was often concerned with breaking away from traditional iconography and style, but Jay DeFeo and Joan Brown chose to engage with European traditional painting. Both artists travelled to Europe early in their careers and both declare an intense interest in European painters, paintings, and architecture. In Bro…
The translucence of the transhistorical
Dansaekhwa, which means ‘one-colour painting’ in Korean, is a stylistic term now employed as a way of drawing attention to a tendency in Korean art that came to the fore in the 1970s. While Dansaekhwa artists adopted procedures and underlying assumptions from the modern Western tradition, they also sought to cleave to what they understood to be key characteristics of a traditional Korean culture that was fast disappearing. I discuss Walter Benjam…
Free and easy wandering’
I examine the impact of East Asian ideas on the paintings and writings of the American artist Agnes Martin (1912–2004), arguing that her relationship to such ideas was complex and often contradictory – at least on the level of the discourse she herself erected around her painting. I argue that while in practice her paintings express a view of subjectivity that is more familiar and more valued within East Asian culture, in her theory Martin nevert…
The Paintings of Yun Hyong-Keun as ‘Emergent Blended Structures’
The Korean artist Yun Hyong-keun (1928–2007) made works that do and do not look like the Western abstract paintings that now belong firmly within the canon of modern art. But seeking to locate Yun’s work within a ‘grand narrative’ – however globalised – is fraught with difficulties. The author discusses the relationship between Yun’s paintings and the Western concept of the Sublime, bringing this into confrontation with very different concepts ar…
Dansaekhwa
During the second half of the 1970s a monochromatic style of painting emerged in South Korea called Dansaekhwa, which means literally ‘monochrome painting’ in Korean. An exhibition at the National Museum of Contemporary Art in Seoul in early 2012 served to connect the art of that period to contemporary practices. Dansaekhwa emerged in a period in which the need for strong social and political control and the wish to guarantee the nation's protect…
Dansaekhwa
During the second half of the 1970s a monochromatic style of painting emerged in South Korea called Dansaekhwa, which means literally ‘monochrome painting’ in Korean. An exhibition at the National Museum of Contemporary Art in Seoul in early 2012 served to connect the art of that period to contemporary practices. Dansaekhwa emerged in a period in which the need for strong social and political control and the wish to guarantee the nation's protect…
Haptic Perception and the Non-Western Monochrome
I explore Brazilian, Japanese, and South Korean monochrome and monochromatic art from the late 1950s to the 1980s, and argue that a non- or trans-visual sensory dimension to painting is brought to the fore, in particular in relation to the haptic modality, which involves paying special attention to the tactile and kinesthetic properties of the body. This sets such monochromes apart from the more familiar ones produced in Europe and the United Sta…
Dansaekhwa
During the second half of the 1970s a monochromatic style of painting emerged in South Korea called Dansaekhwa, which means literally ‘monochrome painting’ in Korean. An exhibition at the National Museum of Contemporary Art in Seoul in early 2012 served to connect the art of that period to contemporary practices. Dansaekhwa emerged in a period in which the need for strong social and political control and the wish to guarantee the nation's protect…
The Paintings of Yun Hyong-Keun as ‘Emergent Blended Structures’
The Korean artist Yun Hyong-keun (1928–2007) made works that do and do not look like the Western abstract paintings that now belong firmly within the canon of modern art. But seeking to locate Yun’s work within a ‘grand narrative’ – however globalised – is fraught with difficulties. The author discusses the relationship between Yun’s paintings and the Western concept of the Sublime, bringing this into confrontation with very different concepts ar…
Free and easy wandering’
I examine the impact of East Asian ideas on the paintings and writings of the American artist Agnes Martin (1912–2004), arguing that her relationship to such ideas was complex and often contradictory – at least on the level of the discourse she herself erected around her painting. I argue that while in practice her paintings express a view of subjectivity that is more familiar and more valued within East Asian culture, in her theory Martin nevert…
The translucence of the transhistorical
Dansaekhwa, which means ‘one-colour painting’ in Korean, is a stylistic term now employed as a way of drawing attention to a tendency in Korean art that came to the fore in the 1970s. While Dansaekhwa artists adopted procedures and underlying assumptions from the modern Western tradition, they also sought to cleave to what they understood to be key characteristics of a traditional Korean culture that was fast disappearing. I discuss Walter Benjam…
Materiality and atmosphere. Two American beat artists painting Europe
The article discusses how European painting heavily influenced two American Beat painters in the post war years. Post-war American painting was often concerned with breaking away from traditional iconography and style, but Jay DeFeo and Joan Brown chose to engage with European traditional painting. Both artists travelled to Europe early in their careers and both declare an intense interest in European painters, paintings, and architecture. In Bro…
Haptic Perception and the Non-Western Monochrome
I explore Brazilian, Japanese, and South Korean monochrome and monochromatic art from the late 1950s to the 1980s, and argue that a non- or trans-visual sensory dimension to painting is brought to the fore, in particular in relation to the haptic modality, which involves paying special attention to the tactile and kinesthetic properties of the body. This sets such monochromes apart from the more familiar ones produced in Europe and the United Sta…
Aesthetics (5 works) · Art (5 works) · Painting (5 works) · Art, Politics, and Modernism (4 works) · Philosophy (4 works) · Philosophy (4 works) · Visual arts (4 works) · Japanese History and Culture (3 works) · Sociology (3 works) · Art history (2 works)