지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The appreciation of Bourgeois’ works has begun since Deborah Wye organized the retrospective exhibition at the Museum of Modern Art in 1982. The reason for this late recognition is that her works do not have any fixed style and materials and do not follow any specific rules. Bourgeois has been fortunate to become an integral part in artistic life of the 20th century, but due to her antiauthoritarian nature, she rejected the rules and regulations of the artworld. Instead, she chose to make up her own rules and select her own world.
For Bourgeois, sculpture meant exorcism from the beginning. She wanted to transfer a feeling of pain and impotence onto a material thing, giving shape to her Angst in order to control it, to shift it from her own body onto another body. Therefore, her works have biographical and psychological features. In 1979, she delivered a public lecture in which she claimed childhood trauma as the origin of her work. That was her father’s affair, under the family roof, with his daughter’s English tutor and supplied a narrative to cut the stylistic and conceptual contradiction of her oeuvre.
Throughout her career, Bourgeois has been drawn to imagery of the body and the house. She was interested in body image from the beginning and became more interested since she was involved in feminist movement in 1960’s. Also the conception of the house as a female space constitutes a central theme of her work. For Bourgeois, the house is equivalent to the definition of woman as homemaker. House has the duality of protection and suppression from her unhappy childhood memories and experiences after the marriage and is also the metaphor of the psychological relationship between human beings. She always returns to the childhood home in memory and expresses the feelings through the artworks.
She combined those two themes in early paintings of Femmes-Maisons and again in the Cells series of 1990s. The Cells series explain her total concept about sculpture and become the evidence of her originality. Therefore, I tried to research the art of Bourgeois focusing on the Cells series. In addition, I tried to explain the psychological effect she pursued, her resistance toward the patriarchy and the problem of sexual identity she studied throughout her life.
In order to appreciate the works of Bourgeois which are so rich with autobiographical and emotional references, I first examined her personal background and relationship with the important art trends of the 20th century which affected her art. Especially, psychoanalysis which arouse with feminism during the period of postmodernism, gives a new theoretical basis in interpretation and production of her artworks.
Secondly, I explained how the imagery of body and house has been transformed in her works. Among the body image, mother-child images and bisexual images are important parts in research of femininity in her artworks. Along with hysteria, the anti-form images of 1960s and body parts of 1980s are used as important motives in the Cells series. House image was emerged in her early paintings and then transformed to sculptures and installations. This transformation explains the background of appearance of the Cells series. Lastly, feministic and psychological meanings of the Cells’s constituents, body parts, found objects and space, were explained. Bourgeois exorcised the pain and feelings through autobiographical story, criticized the suppression of patriarchy and examined the sexual identity. These are supported by the theories of Jacque Lacan, Melanie Klein, Julia Kristeva and Luce Irigaray. However, the application of these theories is confined to the relationship between their basic ideas and her works.
For Bourgeois, sculpture meant exorcism from the beginning. She wanted to transfer a feeling of pain and impotence onto a material thing, giving shape to her Angst in order to control it, to shift it from her own body onto another body. Therefore, her works have biographical and psychological features. In 1979, she delivered a public lecture in which she claimed childhood trauma as the origin of her work. That was her father’s affair, under the family roof, with his daughter’s English tutor and supplied a narrative to cut the stylistic and conceptual contradiction of her oeuvre.
Throughout her career, Bourgeois has been drawn to imagery of the body and the house. She was interested in body image from the beginning and became more interested since she was involved in feminist movement in 1960’s. Also the conception of the house as a female space constitutes a central theme of her work. For Bourgeois, the house is equivalent to the definition of woman as homemaker. House has the duality of protection and suppression from her unhappy childhood memories and experiences after the marriage and is also the metaphor of the psychological relationship between human beings. She always returns to the childhood home in memory and expresses the feelings through the artworks.
She combined those two themes in early paintings of Femmes-Maisons and again in the Cells series of 1990s. The Cells series explain her total concept about sculpture and become the evidence of her originality. Therefore, I tried to research the art of Bourgeois focusing on the Cells series. In addition, I tried to explain the psychological effect she pursued, her resistance toward the patriarchy and the problem of sexual identity she studied throughout her life.
In order to appreciate the works of Bourgeois which are so rich with autobiographical and emotional references, I first examined her personal background and relationship with the important art trends of the 20th century which affected her art. Especially, psychoanalysis which arouse with feminism during the period of postmodernism, gives a new theoretical basis in interpretation and production of her artworks.
Secondly, I explained how the imagery of body and house has been transformed in her works. Among the body image, mother-child images and bisexual images are important parts in research of femininity in her artworks. Along with hysteria, the anti-form images of 1960s and body parts of 1980s are used as important motives in the Cells series. House image was emerged in her early paintings and then transformed to sculptures and installations. This transformation explains the background of appearance of the Cells series. Lastly, feministic and psychological meanings of the Cells’s constituents, body parts, found objects and space, were explained. Bourgeois exorcised the pain and feelings through autobiographical story, criticized the suppression of patriarchy and examined the sexual identity. These are supported by the theories of Jacque Lacan, Melanie Klein, Julia Kristeva and Luce Irigaray. However, the application of these theories is confined to the relationship between their basic ideas and her works.
목차
Ⅰ. 머리말
Ⅱ. 20세기 미술과 부르주아
Ⅲ. 인체 이미지의 변화
Ⅳ. 공간 이미지의 변화
Ⅴ. 〈밀실〉연작
Ⅵ. 맺음말
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