Contemporary Conceptual Abstract Artwork Criticism [2] Contemporary Art Critic Louis Choi Chul-joo's Abstract Art Criticism: Contemporary conceptual painting & Contemporary Art Today, Choi Chul-joo's contemporary Art Critique and Example of contemporary d

Contemporary Conceptual Abstract Artwork Criticism [2] Contemporary Art Critic Louis Choi Chul-joo's Abstract Art Criticism: Contemporary conceptual painting & Contemporary Art Today, Choi Chul-joo's contemporary Art Critique and Example of contemporary desire conceptual art:  Image Concept Artist Choi Chul-joo's Photo Review & Modern Photo Aesthetics Review: Media Art Still Image Photo: "Media Art Steel Photo: In front of Bamboo Forest" 20201126-20201210, Minoo Media Art Museum 

Planning. Former curator of the Seoul Museum of Art Louis Choi Chul-joo (abstract design artist & contemporary artist)

 

Louis Choi Chul-joo, Media-art; Bamboo Forest, Still-image(Bamboo Forest) /  20201126-20201210, Minoo Media Art Museum

 

Installation Artist Louis Choi Chul-joo Conceptual Image Installation Media Art: Bamboo Forest

Modern desire concept installation artist Louis Choi Cheol-joo implemented "Bamboo Forest" as an image installation sculpture with conceptual installation media art based on light and painting, which are basic characteristics of photography. 

This is a parody of existing bamboo photos, and it is an image installation with the inevitable formality of consciousness of the calculated exact composition and light space as the background of desire, like Edgar Degas' photo.

 

Like a realistic chance encounter, the image of rain and wind is drawn as it is along with a photographic image modeled after the bamboo forest according to aesthetic time in the bamboo forest. Unlike the limited photographic frame of bamboo, this is a media art installation image <Bamboo Forest> that shows the linguistic spatial concept image of 296 bamboo forest photos well. 

As an installation image, the conceptual image effect of the desire of bamboo forests in media art is a desire background that repeats the image of a space with different temporal characteristics because the image implements a reversible light structure that does not affect the space as a background of desire due to climate change.

 

20201126-20201210, Minoo Media Art Museum

 

The meaning and effect of the installed desire image that affects the space is the subject as the object of the desire of the space in that temporality. 

Therefore, the installation image 'bamboo forest' is a desire image copied from the photographic image. As a result, the aesthetic value of bamboo forests is media art <bamboo forest>, and the installation of bamboo images reveals the relationship between the non-formal form hidden in the image as a non-existent desire painting and the subject of temporality.

 

 

The temporality of the installation of the desire image creates a virtual space for media users, and photographs of desire images in the virtual climate change process drawn by a series of temporal interventions, a display monitor, and media art "Bamboo Forest" appear to be continuous images of visual continuity. 

This imprints the light and darkness of bamboo overlaid on an invisible bamboo forest, and objectifies the actuality of the bamboo painting away from the picture into a series of images of desire and still pictures.

 

 

Here, the installation image <Bamboo Forest> shows the relationship between the object of the image and the symbolic expression of the photograph, and the structuralistic form of bamboo as an object becomes a photograph of a symbolic desire structure that is irreversibly stopped. 

The photo is a suspended symbolic impression on the subject of bamboo as a desire structure. Here, the impression represents the relationship between the subject of the object and the expression of symbolic photographs, and a symbolic photograph in which the structuralistic sound of bamboo as the subject is irreversibly stopped becomes the image as the installation. 

However, the image of bamboo distorts the meaning of the photos of bamboo that are identified by the combination of images and images of climate change that are drawn, unlike the similarities seen. This is an installation of desire images of photos and videos that do not existentially match.

 

 

Therefore, the conceptual form is actualized because it is the same as the photo by photographing an illustrated desire picture with a different form from the photo. Since the meaning of a picture with Louis Choi Chul-joo's installation image "Bamboo Forest" is metaphorical like the structure of a language, it is not the same as the form of bamboo, so it is structured as an installation with an unconscious picture of rain and wind that does not exist in another bamboo forest where the form and image are overlapped by rain and wind. 

In addition, the virtual image drawn by the main body of the bamboo forest due to the lack of its own location is replaced with media art as other installation sculptures, and the reality as the desire structure of the inner image of the bamboo forest is installed. 

 

Media Art conceptual artist Louis Chul-joo Choi’s Media Art Video Display: <최철주 나팔꽃>, <사라진 연못>, <대나무 숲>, <신윤복풍주밀회도(申潤福風晝密會圖)=최철주의 송하선인취생도>, 20201126-20201210, Minoo Media Art Museum

 

 

 

Louis Chul-joo Choi <Bamboo forest>

 

The meaning of photo <Bamboo Forest>, a picture-shaped illustration taken by artist Chul-joo Choi, is metaphorical like the structure of language, so it is not like bamboo. It is a non-existent painting that overlaps rain and wind with other forms or images due to temporary reality.media art bamboo forest by chul-joo Choi

 

 

 

 

 

 

Louis Choi Chul-joo, Painting; Bamboo Forest-115

 

 

 

 

 

 

 

Louis Choi Chul-joo, Painting; Bamboo Forest-142

 

 

 

 

 

 

 

 

Louis Choi Chul-joo, Painting; Bamboo Forest-196

 

 

 

 

 

Louis Choi Chul-joo, Painting; Bamboo Forest-298

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Image Concept Artist Choi Chul-joo's Photo Review & Modern Photo Aesthetics Review: Media Art Still Image Photo: "Media Art Steel Photo: In front of Bamboo Forest" 20201126-20201210, Minoo Media Art Museum

 

Abstract design as a conceptual semantic structure Abstract photography of modern art : The contemporary artwork posted on Facebook: Abstract Photo of Painting <In front of Bamboo Forest> Louis Choi Chuljoo, Louie's media art "bamboo forest" 2nd edition of contemporary artwork(Abstract photography), 20201126-20201210, Minoo Media Art Museum/ 

 

 

Photo Review and Contemporary Photo Aesthetics Review Media Art <In front of Bamboo Forest>: "Bamboo Forest" Media Art 2nd Edition (Picture of Painting), 2023

 

 

 

Desire Concept Realistic Abstract Work: Choi chuljoo, In front of the bamboo forest 87- The special feeling of the body and mind 3: Desire's imaginary world and metamorphic Desire Formula <D(I...I')d=I(D...D'i)i>.. By repeatedly applying <D(I...I')d=I(D...D'i)i>, formability is embodied in a reversible shade of light to the image of the work to acquire aesthetic value and its meaning appears / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

 

Photographs that reveal the spatiality and timeliness of photographs as continuity of light are close to pictorial photography. These pictorial photographs are transforming into abstract photographs pursuing the fantasy beauty of composition and form, not pictorial imitation.

 

Accordingly, Dr. Choi Chul-joo worked as the head of the academic research office of the Minwoo Museum of Modern and Contemporary Art dedicated to media art and created <Bamboo Forest>, which embodies the composition of media art based on light and painting, which are the basic characteristics of photography. And as the second work of "Bamboo Forest," "In front of the Bamboo Forest" is a photo of the abstract painting "In front of the Bamboo Forest" produced by abstract artist Louis Choi Chul-joo.

 

 

Louis Choi Chuljoo, <In front of the Bamboo Forest 196>: Louie's media art "bamboo forest" 2nd edition of contemporary artwork(Abstract photography), 20201126-20201210, Minoo Media Art Museum

 

 

 

A still image photo of <Bamboo Forest> that embodies the still image composition of media art through painting

                                                                       20201126-20201210, Minoo Media Art Museum

 

 

 

20201126-20201210, Minoo Media Art Museum

 

 

 

 

 

20201126-20201210, Minoo Media Art Museum

 

 

 

 

 

20201126-20201210, Minoo Media Art Museum

 

 

Photographs that reveal the spatiality and timeliness of photographs as continuity of light are close to pictorial photographs. These pictorial photographs are transforming into abstract photographs that pursue the illusion of composition and form, not pictorial imitation.

 

Accordingly, Choi Chul-joo, a doctor of cultural design, worked as the head of the academic research office of the Minoo Media Art Museum dedicated to media art and created <Bamboo Forest>, which embodies the composition of media art based on light and painting, which are the basic characteristics of photography. In addition, as the second work of <Bamboo Forest>, the image of the abstract painting <In front of the Bamboo Forest> produced by abstract artist Louis Choi Chul-joo was embodied as a media art still image.

A still image photo -25 : A still image of  embodied in paintings

 

 

 

 

 

A still image photo -48 : A still image of  embodied in paintings

 

 

 

 

 

 

 

A still image photo -78 : A still image of  embodied in paintings

 

 

 

 

 

 

A still image photo -96 : A still image of  embodied in paintings

 

 

 

 

 

 

A still image photo -116 : A still image of  embodied in paintings

 

 

 

 

 

 

A still image photo -128 : A still image of  embodied in paintings

 

 

 

 

 

A still image photo -116 : A still image of  embodied in paintings

 

 

 

 

 

 

A still image photo -128 : A still image of  embodied in paintings

 

 

 

 

 

 

A still image photo -216 : A still image of  embodied in paintings

 

 

 

 

 

 

A still image photo -268 : A still image of  embodied in paintings

 

 

 

 

 

 

A still image photo -345 : A still image of  embodied in paintings

 

 

 

 

 Still Image Photo: A still image of <In front of the bamboo forest> embodied in paintings

Still Image <In front of Bamboo Forest> Photo-142, A still image of <In front of Bamboo Forest> embodied in paintings : Painting <In front of the bamboo forest> overlapping the landscape image on the outside of the photo frame limited to the bamboo forest

 

 

 

 

Still Image <In front of Bamboo Forest a>

 

 

 

Still Image <In front of Bamboo Forest b>

 

 

 

 

Still Image <In front of Bamboo Forest c>

 

 

 

 

Still Image <In front of Bamboo Forest d>

 

 

 

 

Still Image <In front of Bamboo Forest e>

 

 

 

 

Still Image <In front of Bamboo Forest f>

 

 

 

 

Louis Chul-joo Choi, the bamboo forest c165, a hand-painted picture on a computer

 

 

 

 

Louis Chul-joo Choi, In front of bamboo forest f171, a hand-painted picture on a computer

 

 

 

 

Louis Chul-joo Choi, In front of  bamboo forest g160, a hand-painted picture on a computer

 

 

 

 

 

Louis Chul-joo Choi, In front of  bamboo forest h155, a hand-painted picture on a computer

 

 

 

 

Louis Chul-joo Choi, In front of  bamboo forest b114-pond, a hand-painted picture on a computer

 

 

 

Louis Chul-joo Choi, In front of  bamboo forest b166-pond, a hand-painted picture on a computer

 

 

 

Louis Chul-joo Choi, In front of  bamboo forest g163-pond, a hand-painted picture on a computer

 

 

 

Louis Chul-joo Choi, the bamboo forest h66-pond, a hand-painted picture on a computer

 

The still image of <Bamboo Forest> embodied in paintings is a parody of existing bamboo photographs and is an inevitable formality that is conscious of the exact composition and light space calculated like Edgar Degas' photograph.

 

Realistically, the appearance of rain and wind encountered by chance is drawn as it is, showing the bamboo forest tailored to aesthetic time and the form of photographs that occur at that time. Unlike the media art <Bamboo>, in which bamboo forest photographs are drawn in dark blue, the picture image of the background overlapping on the front outside the limited photo frame of bamboo is <In front of Bamboo Forest>.

 

In media art, the meaning and effect of an image become the subject of the space with different temporality due to the time when the image does not affect the space within the surface area.

Therefore, the meaning and effect of the image that affects the space are the subjects of the space in that time.

 

The "bamboo forest," which paints the meaning and effect of images that affect space, is an image tailored to the perspective method copied from the photographic image. As a result, the aesthetic value of bamboo forests leaves traces with media art <In front of the Bamboo Forest>. The expression of the bamboo image reveals the relationship between the unstructured form hidden in the image as a non-existent picture and the subject of time.

The timeliness of <In front of the Bamboo Forest> is a picture of a virtual image drawn by creating a virtual space for media users and another time-based intervention, and the media art <In front of the Bamboo Forest> shows visual continuity. 

 

This imprints the light and darkness of the bamboo overlapping the invisible bamboo forest, and objectifies the reality of the bamboo painting away from the picture.Here, the impression represents the relationship between the object of the image and the symbolic representation of the photograph, and the structuralist form of the bamboo as the object becomes an irrevocably stationary symbolic photograph. In a photo review of Kim Dae-soo's <Voice of the Bamboo>, Choi Chul-joo said that the structure of bamboo sounds is a structure that transforms sounds consisting of visual recognition and auditory photographic processes that "give life to the vertical line and intersect at an appropriate angle." However, bamboo paintings distort the meaning of bamboo photographs, which are identified differently from the similarities seen. This suggests that the picture and the picture do not existentially match. 

 

Accordingly, an image in which a bamboo photograph of another shape and a realistic background photograph overlap should be drawn in the same manner as a media art still image photograph. 

Choi Chul-joo's "In front of the Bamboo Forest" painting is metaphorical like the structure of language, so the meaning of one picture is not the same as the shape of bamboo, so it structures reality with unconscious pictures of non-existent rain and wind in another bamboo forest.

And he replaces the virtual image drawn by the subject of the bamboo forest with other media art and decorates the reality of the inner image of the bamboo forest. / Writing. Contemporary art critic Choi Chul-joo (Media Artist & Doctor of Cultural Design)

 

Choi Chul-joo, an installation artist