백남준의 비디오 아트에 대한 연구 = (A) Study on Nam-June Paik's Video Art

다국어 초록 (Multilingual Abstract)

Since the Renaissance period, the western artists have been greatly interested in scientific technologies and have performed a variety of research on them. The technologies borrowed by the most innovative and challenging art trend in the late twentieth century expanded the areas of art and they are involved in video art including video sculpture and installation, laser art, and computer art. In particular, the video art in the 1960s was established as a representative of contemporary art, leading the development of a new media art.
For about 40 years, video appeared and recognized as a new media that replaced the canvass used by artists. Video is a media that has a potential of further artistic development, and Paik Nam-june is an artist who has experimented various possibilities of video. Video art has expanded its artistic sphere along with the development of technologies, not existing in the state of simple ideology. It is an open art that signifies the birth of new aesthetics. Therefore, the video art should not be identified with a stereotyped idea. The understanding of video art needs a completely new sense about art. It asks a fundamental question: " What is art? "
Mr. Paik's works of art are represented in various types: object, video sculpture, video installation, video tapes and video performances. The images in his works negate the existing ideological and logical concept of time, and regards time free. His serial works distinctly represent peculiarity of time that can be presented by only the video.
Video art has an ontological basis as an artistic work when the artist leads the audience to join his installation work and the audience continuously create a new condition of the artistic work. This is an extreme transformation of the fixed and established phase of artistic work. Video art transforms time using instantaneousness, simultaneity, and possibility of transformation, and deals with space in the experimental dimension. Theses days, aesthetic experiences and sensory areas have been expanded, followed by the innovation of the quality of artistic creation, and the development of advanced materials. In this trend, Mr. Paik attempted to prevent the isolation of artistic objects and induced the audience to participate the artistic creation. It can be said that he found out the true aspect of art in that he pursued for union of art and life.

목차 (Table of Contents)

• 목차 = ⅴ
• ABSTRACT = ⅵ
• Ⅰ. 서 론 : 현대미술과 비디오 아트 = 1
• 1. 현대미술과 매체미술의 등장 = 1
• 2. 비디오 아트와 백남준의 위치 = 2
• Ⅱ. 비디오 아트 일반에 대한 고찰-포스트모더니즘과 비디오아트 = 3
• 1. 포스트모더니즘의 형성 = 3
• 2. 비디오의 포스트모더니즘적 속성 = 5
• 3. 비디오 아트의 특징 = 8
• 4. 비디오 아트의 발전과정 = 15
• Ⅲ. 백남준의 비디오 아트 = 26
• 1. 백남준 비디오 아트의 해프닝 참여적 양상 = 26
• 2. 비디오 아트의 전개 = 33
• TV설치 = 34
• 비디오 테이프 = 40
• 위성 중계 공연 = 43
• Ⅵ. 결론 : 백남준 비디오 아트의 영향과 미술사적 의의 = 47
• 참고문헌 = 49
• 작가연보 = 51
• 도판목차 = 54