포스트모더니즘 예술에서의 차용 연구 = A Study on Appropriation in Postmodern Art

다국어 초록 (Multilingual Abstract)

The purpose of this study was, focusing on appropriation, to analyze photography, new media art, and image-generating AI technology deeply in postmodern art. For the purpose, the role of appropriation and its creative possibilities in contemporary art are explored and what creative work an artist may accomplish in the process is considered. Postmodern art breaks away from the traditional concept of art and takes on a pluralistic and complex form, and artists have recognized appropriation as a technique that expresses these characteristics. The appropriation is not a simple copy of an existing work, but understood as the creation of new meaning and value through its transformation and reconstruction. Such activities are prominent in various media such as photography, new media art, and image-generating AI, and lead to unique results in each medium. This study focuses on the process by which postmodern art demonstrates creativity and is understood through appropriation. In postmodern art, the creation of new works through reuse or transformation of existing works is common, and this is understood as a different approach from the traditional concept of creation. Accordingly, this study, by systematically analyzing various concepts and methodologies of appropriation in art and applying them to photography, new media art, and image-generating AI, examines various aspects of appropriation art through specific examples. The results derived from the process are largely summarized in two as follows: First, postmodern art is an artistic trend that emerged as a reaction against modernism, and its characteristics include pluralism, complexity, irrationality, and decoration. In particular, appropriation plays an important role in the production process of new works through transformation and reconstruction of existing works of art. This has become established as one of the core creative methodologies of postmodern art. Second, the appropriation is not a simple copy of an existing work but a creation of new meaning and value through its transformation and reconstruction. Various techniques are applied here, such as lipography, new wave photography techniques, digital reproduction systems, and remediation. This appropriation is also used in photography, new media art, and image-creating AI, and specific examples of them are identified. First of all, the appropriation technique commonly used in photographic art is the giving of new meaning through the reuse of existing images. For example, artists such as John Baldessari, Sherrie Levine, and Richard Prince created original works through transformation and reconstruction of existing photographs. They explore various possibilities of appropriation through techniques such as lipography and new wave photography. Next, new media art creates a new level of art through combination with digital technology. Appropriation, which plays an important role in this process, is implemented through techniques such as digital reproduction systems, remediation, and audience participation. Artists who create innovative works using appropriation in new media art include Jeffrey Shaw, Lillian Schwartz, and Ron English. Lastly, image-creating AI is a technology that opens up new possibilities for appropriation art. Artists in this field may create new works by transforming and reconstructing existing images through AI technologies such as GAN, VAE, and GPT-4. In particular, GPT-4o, the multimodal flagship model released by OpenAI in May 2024, is a more innovative image-creating model. These AI technologies are used as efficient creative tools for artists that further expand existing appropriation techniques. This study emphasized the importance of appropriation in postmodern art and explored various aspects of modern art. As an extension, appropriation was found to play a very important role in the process of creating new meaning through reuse and transformation of existing works. Appropriation technique has been used in unique ways in various media such as photography, new media art, and image-creating AI, and is expected to continue to be a source of infinite possibilities of creation for artists.

국문 초록 (Abstract)

본고는 포스트모더니즘 예술에서의 차용을 중심으로 사진, 뉴미디어아트, 그 리고 이미지 생성형 AI 기술을 심도 있게 분석하는 것을 목표로 삼는다. 연구 의 주요 목적은 현대예술에서 차용의 역할과 그 창조적 가능성을 탐구하는 데 있다. 이를 통해 차용 예술이 포스트모더니즘 시대에 어떠한 방식으로 진화하 고 있는지 다양한 관점에서 숙고하고, 예술가가 이를 통해 어떤 창의적 작업 을 수행할 수 있는지를 고찰한다. 포스트모더니즘 예술은 기존의 전통적 예술 개념을 탈피하고 다원적이고 복 합적인 형태를 띠며, 차용은 이러한 특징을 잘 나타내는 기법 중 하나로 예술 가에게 인식되어 왔다. 또한, 차용은 기존의 작품을 단순히 복제하는 것이 아 니라, 이를 변형하고 재구성하여 새로운 의미와 가치를 창출하는 것으로 이해 된다. 이는 사진, 뉴미디어아트, 이미지 생성형 AI와 같은 다양한 매체에서 두 드러지게 나타나며, 각각의 매체에서 여전히 독특한 방식으로 활용된다. 본고의 배경은 포스트모더니즘 예술이 차용을 통해 어떻게 창조성을 발휘하 고 이해되는지에 초점을 맞춘다. 포스트모더니즘 예술에서는 기존 작품을 재 사용하거나 변형하여 새로운 작품을 만들어내는 것이 흔한데, 이는 전통적 창 작 개념과는 다른 접근 방식으로 이해된다. 이에 본고는 예술에서의 다양한 차용의 개념과 방법론을 체계적으로 분석하고, 이를 사진, 뉴미디어아트, 이미 지 생성형 AI에 적용하여 차용 예술의 다양한 양상을 구체적인 사례를 통해 연구한다. 그 과정에서 도출된 결과는 크게 두 가지의 내용으로 정리될 수 있다. 첫째, 포스트모더니즘 예술은 모더니즘에 대한 반발로서 나타난 예술 사조로, 다원 성, 복합성, 비합리성, 장식성 등의 특징을 갖는다. 특히 차용은 기존의 예술 작품을 변형하고 재구성하여 새로운 작품을 만들어내는 과정에서 중요한 역할 을 한다. 이는 포스트모더니즘 예술의 핵심적인 창작 방법론 중 하나로 자리 잡는다. 둘째, 차용은 기존의 작품을 단순히 복제하는 것이 아니라, 이를 변형하고 재구성하여 새로운 의미를 창출하는 과정이다. 이는 다양한 기법을 통해 이루 어지며, 리포토그래피, 뉴웨이브 사진 촬영기법, 디지털 복제 시스템, 재매개 등의 방법이 사용된다. 이러한 차용은 사진･뉴미디어아트･이미지 생성형 AI에 서도 그 사례가 구체적으로 확인되고 활용된다. 우선, 사진 예술에서는 기존의 이미지를 재사용하여 새로운 의미를 부여하 는 차용 기법이 많이 사용된다. 예를 들어, 존 발데사리, 셰리 레빈, 리처드 프린스와 같은 예술가들은 기존의 사진을 변형하고 재구성하여 독창적인 작품 을 만들어낸다. 이들은 리포토그래피, 뉴웨이브 사진 촬영기법 등을 통해 차용 의 다양한 가능성을 탐구하고 있다. 다음으로 뉴미디어아트는 디지털 기술과 결합하여 새로운 차원의 예술을 창 조한다. 차용은 이 과정에서 중요한 역할을 하며, 디지털 복제 시스템, 재매 개, 관객 참여 등의 기법을 통해 구현된다. 제프리 쇼, 릴리언 슈워츠, 론 잉 글리쉬와 같은 작가들은 뉴미디어아트에서 차용을 활용하여 혁신적인 작품을 만들어내고 있다. 마지막으로 이미지 생성형 AI 기술은 차용 예술의 새로운 가능성을 열어준 다. 예술가는 GAN, VAE, GPT-4 등의 AI 기술을 활용하여 기존의 이미지를 변형하고 재구성하여 새로운 작품을 만들어낼 수도 있다. 특히 OpenAI에서 2024년 5월에 공개한 멀티모달 플래그십 모델인 GPT-4o는 더욱 혁신적인 이미지 생성 모델의 형태를 드러낸다. 이러한 AI 기술은 예술가의 효율적인 창작 도구로서, 기존의 차용 기법을 더욱 확장시키는 것으로 이해된다. 본고는 포스트모더니즘 예술에서 차용의 중요성을 강조하고, 이를 통해 현 대예술의 다양한 양상을 탐구하는 것으로 정리된다. 이런한 연장선에서 차용 은 기존의 작품을 재사용하고 변형하여 새로운 의미를 창출하는 과정에서 매 우 중요한 역할을 한다는 게 본고의 고찰이다. 사진, 뉴미디어아트, 이미지 생 성형 AI와 같은 다양한 매체에서 차용 기법은 독특한 방식으로 활용되고 있 으며, 이는 앞으로도 예술가들에게 무한한 창작 가능성을 제공하는 원천이 될 것으로 기대한다.

목차 (Table of Contents)

• Ⅰ. 서 론 ·············································································································· 1
• 1. 연구 목적 및 방향 ····························································································· 1
• 2. 연구 방법 및 범위 ····························································································· 6
• Ⅱ. 포스트모더니즘 예술의 이론적 토대와 차용의 메커니즘 ················ 12
• 1. 포스트모더니즘 예술의 핵심 특징 ······························································ 12
• 2. 차용 이론의 개념적 이해와 접근 방법 ······················································ 21
• 1) 차용의 개념적 이해 ················································································ 21
• 2) 차용의 기법과 접근 방법 ······································································ 37
• 3. 이미지 생성형 AI 기술과 차용의 연계 ······················································ 60
• Ⅲ. 포스트모더니즘 예술에서의 차용 활용 양상 ······································ 80
• 1. 사진 예술에서의 차용 ···················································································· 80
• 1) 사진 예술의 차용 방법과 맥락화 ························································ 82
• ① 사진 예술의 역사와 방법 ······························································· 83
• ② 사진 차용과 맥락화 기법 ······························································· 88
• (1) 리포토그래피(Rephotography) 사진 촬영기법 ················ 92
• (2) 뉴웨이브(New Wave) 사진 촬영기법 ······························· 93
• 2) 사진 차용 예술가들의 차용 사례 분석 ·············································· 99
• ① 존 발데사리(John Baldessari, 1931∼2020 ) ····························· 102
• ② 셰리 레빈(Sherrie Levine, 1947∼) ·············································· 106
• ③ 리처드 프린스(Richard Prince, 1949∼) ······································ 112
• 2. 뉴미디어아트에서의 차용 ············································································ 118
• 1) 뉴미디어아트 차용 개념 및 방법론 ·················································· 118
• ① 뉴미디어아트의 개념 및 특성 ····················································· 128
• ② 차용과 뉴미디어아트의 상호작용 ··············································· 134
• (1) 뉴미디어아트 차용의 패러다임 ········································· 138
• (2) 차용미술사 연구를 위한 디지털 복제 컴퓨터 시스템 · 140
• (3) 뉴미디어아트 차용방식의 진화와 협업 ··························· 143
• (4) 뉴미디어아트 차용 창작방식으로써의 재매개 ··············· 150
• 2) 뉴미디어아트 작가들의 차용 사례 분석 ·········································· 162
• ① 존 발데사리(John Baldessari, 1931∼2020 ) ····························· 162
• ② 제프리 쇼(Jeffrey Shaw 1944∼) ··················································· 174
• ③ 릴리언 슈워츠(Lillian F. Schwartz, 1927∼) ··································· 184
• ④ 론 잉글리쉬(Ron English, 1959∼) ················································ 203
• ⑤ 마이클 맨디버그(Michael Mandiberg, 1977∼) ····························· 205
• ⑥ 필 해켓(Phil Hackett, 1983∼) ······················································· 209
• 3. 이미지 생성형 AI에서의 차용 ···································································· 212
• 1) GAN을 활용한 차용 기법의 창조적 표현 ······································· 217
• 2) VAE를 통한 차용 기법의 재구성 ····················································· 224
• 3) 생성형 AI의 활용 양상과 미래 전망 ··············································· 231
• Ⅳ. 결론 ············································································································ 250