지역성을 중심으로 본 1930-40년대 미국의 초현실주의

국문 초록 (Abstract)

시기적 특성과 맞물려 지역성이 결합된 독특한 형태로 전개되면서 미국 초현실주의만의 지역성이 탄생하게 된 과정을 객관적으로 조명한다. 뉴욕을 중심으로 한 논의에서 나아가 시카고, 캘리포니아 서부해안에서 나타났던 초현실주의 미술 운동을 조명하면서 지역적 특성으로 발현된 미국 초현실주의에 대해 논한다.

다국어 초록 (Multilingual Abstract)

If we examine more closely, the American surrealism disclosed its limitation in maintaining its tradition. Nevertheless the American artists carried out various experiments on surrealism for 10 years-from the mid 1930s until the mid 1940s. The reason is that development of surrealism was made during this short period of time in some areas.
Since diversification and objectification have been the mode of research until recently, artistic and historical observations on surrealism have been defined in limited terms including, “Social Surrealism,” “Post Surrealism,” and “Magic Realism.”
However, it is noticeable that the future alternative of the new art which Breton wanted to transmit through surrealism was found in the American surrealism in spite of the limitation that America had a cultural hegemony. Experiments by the artists who wanted to recreate surrealism from the American view similarly showed various surrealistic techniques and formative attitudes including automatism, collage, depaysement and surreality of space-time. Naturally, it cannot be said that this was generated from the complete understanding of surrealistic concept that pursues to liberate human consciousness by rejecting the rationality through the research of unconsciousness or Breton’s ‘Lead Tube’ theory that connects unconsciousness and a state of dream. However, the basic concept of surrealism, which tried to deviate from the existing art form and pursue the fundamental liberation of human, created the unique style of surrealism in America by being contacted with the American artists who dreamed of a new art style and united with the American regional characteristics.
It showed its unique style that was different from not only the European surrealism, which was developed based on Paris but also based on surrealistic trend which became international. It means that the unique regionality of the American surrealism was created by the coincided situations that America had the cultural hegemony due to the exiles of the European surrealists and the trial to establish American identity was considered as the priority at that time. The delivery methods of surrealism, which have various forms in different regions by publications, exhibitions, inflows of the European surrealists and the diverse relationship between artists, galleries, collectors and critics in different regions, were reflected in the style of surrealism that was developed in America.
New York was not free from the political intentions that pursued to establish the American identity. On the other hand, in peripheral areas of New York, the phenomenon is observed that the remarkable regionality has been actually created since it depended on the indirect delivery method from accessibility. Eventually, it means that regionality in the American surrealism is not limited to the fragmentary view that the regional characteristic is simply reflected in works of the artist. It can be presumed that the attitudes for acceptance of surrealism and various factors from complicated relations in the regional artistic community were revealed as the regionality.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 미국에서의 초현실주의 유입 및 전개 양상
• Ⅲ. 지역별로 본 미국 초현실주의 미술의 특성
• Ⅳ. 맺음말
• 참고문헌
• Abstract

참고문헌 (Reference)

1 오진경, "다다와 초현실주의" 한길아트 2001

2 Rain, Charles, "conversation with the author, in Remembering Charles Rain: Selected Works from 1933-1973" 32 (32): 2004

3 Cozzolino, Robert, "With friends : six magic realists, 1940-1965" Elvehj em Museum of Art, University of Wisconsin-Madison 2005

4 Swanson, Mary Towley, "Walter Quirt: A Retrospective" University Art Gallery 1980

5 "Typical of the magazine review: “New York Criticism: Quirt, American Surrealist" 10 : 16-, 1936

6 Goodyear, Anson, "The Museum of Modern Art: The first ten years" New York 1943

7 Breton. Andre, "Surrealism and painting" MFA Pub 2002

8 Zafran, Eric, "Surrealism and modernism : from the collection of the Wadsworth Atheneum" Wadsworth Atheneum Museum of Art in association with Yale University Press 2003

9 Dervaux, Isabelle, "Surrealism USA, New York: National Academy Museum: Ostfildern-Ruit" Hatje Cantz 2005

10 Arnason, H. Harvard, "Revised and undated by Wheeler, Daniel, History of modern art: painting, sculpture, architecture, photography, 3rd ed" Abrams 1986

11 Karlstrom, Paul J., "On the edge of America California Modernist Art, 1900-1950" University of California Press 1996

12 Brian, Doris, "New Exhibitions of the Week: Rational Variations on a Surrealist Pattern by James Guy" 37 : 13-, 1939

13 "Marvelous and Fantastic" 27 (27): 62-, 1936

14 Angulo, Maria Elena, "Magic realism: social context and discourse" Garland Pub 1995

15 Kantor, Sybil, "Intellectual Origins of the Museum of Modern Art" Cambridge 2002

16 Jacob, Mary Jane, "In the Mind’s Eye" Art Institute of Chicago 1984

17 Barron, Stephanie, "Exiles+emigres: the flight of European artists from Hitler, edited by Los Angeles County Museum of Art, Montreal Museum of Fine Arts" H.N. Abrams 1997

18 Rosenblum, Robert, "De Chirico’s Long American Shadow" (46) : 46-55, 1996

19 Meltzoff, Stanley, "David Smith and Social Surrealism" 39 : 98-, 1946

20 Umland, Anne, "Dada in the collection of the Museum of Modern Art" The Museum of Modern Art 2008

21 Newman, Barnett, "Barnett Newman: Selected Writings and Interviews" Knorf 1990

22 Ilene Susan Fort, "American Social Surrealism" 22 (22): 8-, 1982

23 Miller, Dorothy C, "American Realists and Magic Realists" 2 (2): 102-, 1943

24 Miller, Dorothy C., "American Realists and Magic Realists" New York 1943

25 Janis, Sidney, "Abstract and Surrealist Art in the United States" Sanfrancisco Museum of Art 1944

26 Sweeney, James J., "A Note on Super-Realist Painting" 16 : 611-613, 1930