팝아트를 중심으로 본 복제의 미학 = The Aesthetic of Replication in Pop Art

다국어 초록 (Multilingual Abstract)

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?”

목차 (Table of Contents)

• I. 머리말
• Ⅱ. 복제미학의 미술사적 계보
• Ⅲ. 팝아트에 나타난 복제성의 의미
• Ⅳ. 맺는 말
• 참고문헌
• ABSTRACT

참고문헌 (Reference)

1 Dypreau, Jean, "“L’objet dans l’art d’aujourd’hui,” in Métamorphose de l’objet: art et anti-art, 1910-1970(catalogue)"

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3 Marinetti, F. T, "“Fondation et Manifeste du Futurisme,” Figaro, le 20 février 1909, in Giovanni Lista, Futurisme: Manifestes documents - proclamations"

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5 Tomkins, Calvin, "You Think This is a Supermarket? NO, hold your hats … It’s an ART GALLERY" 57 (57): 1964

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23 Léger, Fernand, "Fonction de la Peinture" Éditions Gonthier 1965

24 Le Bot, Marc, "Figures de l’art contemporain" Union Générale d’Éditions 1977

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26 "Fernand Léger (catalogue)"

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30 "Berlin-Paris; 1900-1933 (catalogue)"

31 Whiting, Cécile, "A Taste for Pop: Pop Art, Gender and Consumer Culture" Cambridge University Press 1997

32 Selz, Peter, "A Symposium on Pop Art" 37 (37): 1963

33 Madoff, Steven Henry, "A Critical History" University of California Press 1997

34 오진경, "1950-1960년대 뉴 리얼리즘 계열 미술동향 명칭에 관한 고찰" 한국미술사교육학회 17 : 2003