미국 네오아방가르드 미술의 몸의 정치학

다국어 초록 (Multilingual Abstract)

This study focuses on embedding a meaning to the 'body' which is one of the major paradigms in art practice, theory and criticism of the 1960's America. In the Western society, the U.S in particular, this period is also known as the transition era from modernity to post-modernity when extreme socio-cultural changes took place. In the art fidel, new arts such as Neo-Dada, Happening, Fluxus, Performance, Minimalism and Pop art were born. However, despite their various aspects, they commonly seemed to oppose the oppressive formalist modernism of Abstract Expressionism, and started to be interpreted in relation to the concept of 'avant-garde'. The avant-garde here is in contrast with Clement Greenberg's 'Modernism avant-garde', contributing to the concept of Europe's 'anti-modernistic avant-garde' by promoting the combination of life and art This is in retaliation to modernism's aestheticism that tries to establish an art system and separate art from the outside world.
Peter Burger's 'neo-avant-garde' theory classified the art practice that originated in America since Abstract Expressionism as an anti-modernistic avant-garde. Burger named the experimental art that originated in the West in the post-World War II era as 'neo-avant-garde' and identified it as a repetition of 'historical avant-garde', including Dada, Surrealism and Russian Constructivism. This theory describes neo-avant -garde art as a mere superficial imitation of collage, photomontage and ready-made, born to resist formalist modernism by the historical avant-garde, and did not carry on the true will to criticize the system. However, American art theorists, such as Benjamin Buchloh and Hal Foster, not only accepted the neo-avant-garde concept as a paradigm to analyze American experimental art, but also embedded a positive meaning to avant-garde's 'repetition', and claimed that neo-avant-garde must go through the process of repeating the looks of historical avant-garde in order to put avant-garde into real practice.
In alignment to the researcher's argument mentioned above, this study will try to claim neo-avant-garde as a new type of avant-garde resisting against the changes of art institution, which appeared in the transition stage from modernism to post-modernism. A critique to modernism born from modernity which is created by capitalism and the creative destructor of that continuity; neo-avant-garde has the mission of criticizing the institution of art The historical avant-garde of the past was merely a 'critique of the conventions of the traditional mediums' through painting and sculpture, but since the 1950's when late capitalism took place, neo-avant-gardes came across the issue of art, commodity and spectade being related, and started to study art institution.
This article thus focuses on presenting 'body' as a core resisting strategy of neo-avant-garde towards art institution. In the history of modern art, the body of the artist and the viewer went through exposure and concealment, depending on the era and trend. Nevertheless, the role and importance of body in the art of historical avant-garde, named by Burger, cannot be emphasized enough. In various historical avant-garde 'soirees' and 'festivals' of the early 20thcentury, held in Zurich, Paris and Berlin, the body was the subject and object of expression. Their practice tried to overcome the dosed system of modernism art medium and integrate art into the part of people's daily lives. However, one must notice that much of neo-avant-garde art also originates from the actions of the human body As a global post-war effect, such development took place in a wide variety of areas; from Abstract Expressionism, which is a formalist modernism, to Neo-Dada, Happening, Fluxus, and Judson Dance Theater, which advocates the New Dance.
Based on these facts, the corporeality of historical avant-garde and neo-avant-garde art can be inferred. Thus, this article identifies the 'body' as something that app

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 현대미술사와 몸
• Ⅲ. 네오아방가르드 담론의 형성
• Ⅳ. 네오아방가르드 미술에 나타난 몸의 정치
• Ⅴ. 맺음말
• 참고문헌
• Abstract

참고문헌 (Reference)

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