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
89 Seconds at Alcasar, the star piece of the Museum of Modern Art in New York, highlighted the art world in 2004. The artist, Eve Sussman, was inspired by Velazquez’s Las Meninas(1656) and made a 12 minutes-running video work which replicated the images of the Spanish King Philip IV and his court as were shown in the well-known painting. When this video was exhibited in 2004 Whitney Bienale, the whole show was criticized for remaking or re-producing the previous works of art. Donald Kuspit, an art historian, for instance, dismissed this as an mediocre amateur tendency compared to the creativity of old masterpieces.
89 Seconds contains flowing movements of protagonists at Alcasar, where they come and talk while dancing. This work consists of sound, music, choreography, architecture, costume, filming and set design. In the video, actors move around the room at Alcazar slowly and the king and the little princess perform the leading figures.
In revising the traditional painting, 89 Seconds is to be compared to Bill Viola’s video works, such as Meeting and The Quintet of the Astonished, where the original context of time and space are eliminated and only the emotional tense /density carried on. While Viola underscores universal feelings of human existence transcending historical setting and narrative, Sussman explores the specific time and space of art-making. She emphasizes the historic moment of painting and elaborates the real historic point of the royal family. Walter Benjamin’s 《The Work of Art in the Age of Mechanical Reproduction》is the key article discussing the relationship between the original works and their reproductions. He suggests the value of the former is damaged by the mass produced replicas, and eventually it blurs the territory of the original and the others. Movie and photography as the mechanical reproducing system threaten the aura of the work and destroy its’cult-value.
Adopting a method of mechanical reproduction like film, 89 Seconds does not hamper the originality of Las Meninas nor does it weaken the cult-value and its aura. Instead, it surely expands the moment of aura of Las Meninas, 89 Seconds reverses the Benjamin’s theory demonstrating that a reproduction can help to rebuild the aura and myth of the original work of art. Reviving narrative, Sussman demonstrates that ‘aura’ can be reproduced in a new media and reinforce the myth of the time and space it was made. In this sense, 89 Seconds gives us a glimpse at a future vision in art and its discourse.
89 Seconds contains flowing movements of protagonists at Alcasar, where they come and talk while dancing. This work consists of sound, music, choreography, architecture, costume, filming and set design. In the video, actors move around the room at Alcazar slowly and the king and the little princess perform the leading figures.
In revising the traditional painting, 89 Seconds is to be compared to Bill Viola’s video works, such as Meeting and The Quintet of the Astonished, where the original context of time and space are eliminated and only the emotional tense /density carried on. While Viola underscores universal feelings of human existence transcending historical setting and narrative, Sussman explores the specific time and space of art-making. She emphasizes the historic moment of painting and elaborates the real historic point of the royal family. Walter Benjamin’s 《The Work of Art in the Age of Mechanical Reproduction》is the key article discussing the relationship between the original works and their reproductions. He suggests the value of the former is damaged by the mass produced replicas, and eventually it blurs the territory of the original and the others. Movie and photography as the mechanical reproducing system threaten the aura of the work and destroy its’cult-value.
Adopting a method of mechanical reproduction like film, 89 Seconds does not hamper the originality of Las Meninas nor does it weaken the cult-value and its aura. Instead, it surely expands the moment of aura of Las Meninas, 89 Seconds reverses the Benjamin’s theory demonstrating that a reproduction can help to rebuild the aura and myth of the original work of art. Reviving narrative, Sussman demonstrates that ‘aura’ can be reproduced in a new media and reinforce the myth of the time and space it was made. In this sense, 89 Seconds gives us a glimpse at a future vision in art and its discourse.
목차
Ⅰ. 비디오 아트의 새로운 이정표 - 복고와 再演의 활성화
Ⅱ. 전통회화와 영상: 빌 비올라와 수스만
Ⅲ. 서사구조의 죽음과 신미술의 탄생
Ⅳ. 동영상과‘서사’의 회복
Ⅴ. 아우라의 해체, 또는 아우라의 강조: 새로운 영역으로서의 고전의 확대
Ⅵ. 남은 문제와 비전: 아우라의 변혁과 후기미술사
[참고문헌]
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
발트 벤야민의 사진론에 관한 해석
AURA
2011 .01
-
디지털 제품의 아우라(AURA)와 디지털 시대의 제품 가치 연구
Archives of Design Research
2002 .05
-
발터 벤야민의 아우라 정의를 통해 본 상품아우라에 관하여
한국디자인문화학회지
2011 .12
-
건축에서 아우라 생산의 가능성에 관한 연구 - 존 헤이덕의 <벽집 1>을 중심으로
한국공간디자인학회 논문집
2011 .01
-
현대미술에 있어서 '복제'의 개념과 전시규범의 문제 -${\gg}$살바도르 달리 탄생 100주년 특별전${\gg}$의 전시물
미술이론과 현장
2004 .01
-
사진, 매체, 그리고 아우라의 변형 : 디지털사진과 디지털아우라
민족미학
2011 .12
-
Aura Colours
AIC 2017 Jeju
2017 .10
-
기계복제에서 디지털복제로 : 발터 벤야민의‘기술복제’개념과 오늘의 양상
AURA
2012 .01
-
디지털 미디어(Digital Media) 시대 춤의 아우라(Aura) 발터 벤야민(Walter Benjamin)의 매체미학을 기반으로
무용예술학연구
2017 .01
-
칼 융의 원형이론과 아우라 몰락 - 동양 문화원형의 내향적 관점-
예술과 미디어
2013 .01
-
미디어 아트의 환영에 관한 기고
AURA
2007 .01
-
미술사의 사진에 관한 화두 : 사진의 정체성과 예술성에 관한 논의
미술사연구
2006 .12
-
Glocalization 시대의 현대미술
현대미술학 논문집
2006 .12
-
은유적 복합성에 의한 영상 컨텐츠의 아우라(Aura)효과에 관한 연구
한국디자인포럼
2005 .01
-
1950년대의 한국미술(1), 제1공화국 미술의 태동과 진통
미술사논단
2015 .06
-
미술과 공예 : 그 경계와 위상
미술사학
2007 .08
-
미술사 교육의 전통과 담론들 : 미술관, 미술사, 그리고 교육
미술사학
2004 .08
-
‘움직이는 조각’과 공연예술
서양미술사학회논문집
1990 .12
-
한국근현대미술사에서 제도에 관한 연구의 검토
한국근현대미술사학
2012 .12
-
무용과 과학기술을 융합한 그룹 E.A.T.에 관한 연구
무용예술학연구
2019 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-650-015244681