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오진경(吳鎭敬) 한국미술연구소 2014 美術史論壇 Vol.- No.38
If the most prominent features of a work of art happen to be elements of machine-based mass production, i.e., standardization, repetition and replication, this is likely because, in whatever respect,the work reflects an aestheticrelated to the culture of mechanization. This paper examines the works of Futurists, Purists, Dadaists and of Fernand Leger, in order to explore the meaning of the replication in Pop within the larger context of art history. In the early twentieth century, artists thought of replicationas either a weapon against the arrogance and parochilaism of previous generations, or a strategy to transcend the traditional notion of art as bound by a hierarchy and broaden the definition of man-made beauty. As part of a trend that had continued since the mid-nineteenth century, replication implicated the social significance of a new aesthetic not removed from daily life. This aesthetic of replication was succeeded bythe following generation of art movements including Neo-Dada, Pop and Nouveau Realisme, and especially by artists in the United States. Raised in a culture of consumerism repsresented by an excess of mass-produced goods, photographs, advertisements and ready-to-eat foods, American artists were emboldened by the confidence that theirs could be the generation that establishes Pop as the most American form of art, and thus actively introduced increasingly commercial and replicated materials in their works. As did their previous generation in the 1910s, American Pop artists strived to express in detail the reality of a consumerist society where everything is reproduced and consumed, using replication as a means to challenge formalist modernism, which had pursued “art for art’s sake.” In this respect, they succeeded the perspective of Realists, who believed art should bear testimony to the spirit of the times. And while their blatent ordinariness make the works appear extremely apathetic and mechanical, ironically, it also allows the art to speak to the viewer in a more serious, piercing voice. Through the act of replication, without which the structure of consumerist societies cannot be explained, Pop art provided an opportunity to once again reflect upon the world we live in, raising the oldest, most fundamental question about art and aesthetics, “What does it mean to create art?”
오진경(吳鎭敬) 한국미술연구소 2009 美術史論壇 Vol.- No.28
With the rapid growth of urban population by industrialization and the progress of mass production technique by machine, leisure activity for city workers have got to be possible, accordingly, cultural consumption structure has changed, and popular culture started to rise to the surface targeted for many ordinary masses, not only for some elite classes. Art has naturally come to reflect such social change in its materials and expression styles. Mass-produced objects, printing materials and photo images often introduced in modern art productions are the expressions of life pictures living in the modern society in which mass production and consumption has become a routine reality. As their representative examples, this paper looked into the photo montages of Berlin Dadaists having struggled to re-combine the fragments of photo images keeping specific factuality as an extraordinary way, and transmitted strong political messages. And Merz-collages of Kurt Schwitters gathering up miscellaneous printing materials dumped as wastes and creating delicate formativeness ranking next to abstract painting. In the same context, and also it explored readymades of Marcel Duchamp picking up mass-produced commodities, nullifying the practical traits and converting the meaning of plain things to unique and original art works. Banality to Dadaists became weapons to scold the selfishness and arrogance of the older generation bringing about a tragedy so-called first world war, and to attack the hierarchial and prejudiced vision of existing art communities, and in addition, effective means to shape art not split from the life of all plain people. Banality playing a critical and challenging weapons to dadaism served as the ground of 'aesthetics of routineness' to find out a door heading for surrealist world in daily life, as it was linked with the positive view of surrealism seeking an alternative art to reconstruct Europe ruined by the first world war. A surrealist production often takes an outrageous and illogic expression pattern, so it was misconceived as art turning a deaf ear to the reality and tracking fantasy. However, indeed Surrealism was a humanistic movement which came up with a specific and practicable alternative to drastically recognize realistic problems and resolve them. and struggled to rights and freedom to lead the chaotic realistic world to an orderly direction all people dream of. The production of surrealists utilizing routine objects and reproductive images were the attempts to realize that goal in a formative way. Rene Magritte reaped an unexpected formative effect by putting the images of familiar and common routine objetcs side by side with an extravagant combination against physical rules and logical thoughts, and produced painting leading the spectator to a mystical world 'depaysement' process. Max Ernst created a strange and wonderful world like alchemy through collages illogically attaching cuts and photo images containing concrete reality. Savador Dali tried to intentionally shamming the free imagination of an organized mental disease called paranoia, and express the another world of truth invisible to the eyes of normal people. And the box series of Joseph Cornell, arranging in a small box bead, glass cup, tobacco pipe and routine goods, an astronomical chart, and old map, displayed the transcendental world of time and space where the past, the presence, internal space and the universe co-exist. In a word, banality to surrealists was a formative means to materialize the belief that they can find out, even in daily repeating routine, a door heading for mystical, wonderful and poetic world, in other words surrealite : the world of absolute reality. This kind of strategy of banality revealed by Dada and Surrealism was inherited to all art trends actively applying to art production mass-produced objects, images and re-production technique such as Neo-Dada, Pop Art, Nouveau Realisme, Nouvelle Figuration