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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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In contemporary society, fashion became one of the most important indices of mass culture by the advent of postmodernism and the bursting media image industries, and fashion photography also became the focus of serious study. Contemporary fashion photo owed its changed status to the ‘rise of photography’ in general and to the change of the fashion trend itself as well. But thanks to the omnipresence of the popular images, the tensions between art/aesthetic and popular image, and art history and visual culture are ever more acute. This paper is about the correspondence and conflict between art and fashion photo and about the expansion of the boundary and meaning of art.
The fashion photo of the 1990’s changed dramatically thanks to the ‘grunge’ fashion of the late 80s that changed the landscape of the haut couture. The traditional other worldly glamours of the fashion and its models gave way to the ‘poor look’ and the young models without experience were scouted in the street and posed without heavy make up at the bare and often filthy environments. One of the major influences of this so called ‘heroin chic’ phenomena was Nan Goldin and her ‘intimate’ photos. Goldin’s fashion photos <Masculine/Feminine> in 1985 for example, used her friends as the linqerle models, and they posed carefree at the old Russian baths ignoring the existence of the camera lens. This kind of realism in fashion photo was a great impact to the young fashion photographers and many adopted similar tactics. Goldin in turn, was influenced by Andy Warhol’s movies and his magazine Interview and both were familiar with the subculture and camp environment. Warhol was a fashion victim himself and did all sorts of fashion-related works including designing and constructing runway shows but his most important contribution to fashion photo was publishing works of the young fashion photographers in his Interview magazine.
The contemporary artists who incorporated fashion in their works are not few but the representative cases are Cindy Sherman, Sylvie Fleury, Vanessa Beecroft, and Richard Prince. Sherman produced fashion photos in the 80s and 90s but her works are anti-fashion photos of the silly fashion victims. On the other hand, Prince’s fashion photos <Girlfriends> are originally the bikers’ amateur photos and he edited them worse by cropping and challenged the limit of art. His gesture makes the opposition between art and image meaningless and the boundary between them helpless.
Lastly, the Benetton’s campaign photos by Oliviero Toscany in the 90’s merit a mention. Like Warhol, Toscany appropriated scandalous journalism photos and tested the limit of fashion photos. But contrary to Toscany’s hopes, it turned out that commercial fashion photos should not deal with the delicate social issues. The commercialism seems to be the last barrier between art and fashion(photo) but how strong it would be is yet to be seen.
The fashion photo of the 1990’s changed dramatically thanks to the ‘grunge’ fashion of the late 80s that changed the landscape of the haut couture. The traditional other worldly glamours of the fashion and its models gave way to the ‘poor look’ and the young models without experience were scouted in the street and posed without heavy make up at the bare and often filthy environments. One of the major influences of this so called ‘heroin chic’ phenomena was Nan Goldin and her ‘intimate’ photos. Goldin’s fashion photos <Masculine/Feminine> in 1985 for example, used her friends as the linqerle models, and they posed carefree at the old Russian baths ignoring the existence of the camera lens. This kind of realism in fashion photo was a great impact to the young fashion photographers and many adopted similar tactics. Goldin in turn, was influenced by Andy Warhol’s movies and his magazine Interview and both were familiar with the subculture and camp environment. Warhol was a fashion victim himself and did all sorts of fashion-related works including designing and constructing runway shows but his most important contribution to fashion photo was publishing works of the young fashion photographers in his Interview magazine.
The contemporary artists who incorporated fashion in their works are not few but the representative cases are Cindy Sherman, Sylvie Fleury, Vanessa Beecroft, and Richard Prince. Sherman produced fashion photos in the 80s and 90s but her works are anti-fashion photos of the silly fashion victims. On the other hand, Prince’s fashion photos <Girlfriends> are originally the bikers’ amateur photos and he edited them worse by cropping and challenged the limit of art. His gesture makes the opposition between art and image meaningless and the boundary between them helpless.
Lastly, the Benetton’s campaign photos by Oliviero Toscany in the 90’s merit a mention. Like Warhol, Toscany appropriated scandalous journalism photos and tested the limit of fashion photos. But contrary to Toscany’s hopes, it turned out that commercial fashion photos should not deal with the delicate social issues. The commercialism seems to be the last barrier between art and fashion(photo) but how strong it would be is yet to be seen.
목차
Ⅰ. 여는 말
Ⅱ. 미술과 패션
Ⅲ. 앤디 워홀
Ⅳ. 미술과 당대 패션, 패션사진
Ⅴ. 남은 말
참고문헌
Abstract
「내가 너의 거울이 되리」에 대한 질의(이주용)
참고문헌 (8)
참고문헌 신청
[학술지(정기간행물)] - / 1993 / United Colors of Benetton
[학술지(정기간행물)] - / 1991 / Appearances:Fashion Photography since 1945
[학술지(정기간행물)] - / 1999 / Fashion Spreads:Word and Image in Fashion Photography Since 1980
[학술지(정기간행물)] - / 2004 / Fashioning Fiction in Photography since 1990
[학술지(정기간행물)] - / 1996 / Looking at Fashion: Biennale de Firenze
[학술지(정기간행물)] - / 1991 / Appearances:Fashion Photography since 1945
[학술지(정기간행물)] - / 1999 / Fashion Spreads:Word and Image in Fashion Photography Since 1980
[학술지(정기간행물)] - / 2004 / Fashioning Fiction in Photography since 1990
[학술지(정기간행물)] - / 1996 / Looking at Fashion: Biennale de Firenze
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