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The modernist art history is often regarded as iconoclastic in its impulse to exclude any recognizable figures from the art work. Modernist art went against any narrative based on the image and reduced its task into a sort of autistic self criticism, for the purity of self definition. Yet this article tries to find out the symbolic icon that is alway there behind the iconoclastic gesture of the modernist art. The grid, as the representative icon of the modernist art, is omnipresent in the history of modem art.
As the concept of “icon” is problematic between ‘good image’ and ‘bad image’, between miracle and fetish. so the grid manifests its being both spirit and matter at the same time. Pop art that is often understood as “the return of the content” and as the beginning of post-modem art, in fact internalized the structure of grid. The “icon” in the pop art is very different in character compared with the icon in the pre-modem art. Pop imagery is a kind of ready-made, appropriated images from the mass media and commodity. Art after modernist art nulled out the concepts of originality and authenticity, and took “repetition” as one of its strategies to obtain that goal. And “repetition” is the very structure of the modernist grid.
An art work is endowed with its artistic identity and value from the institutional mechanism which is in a sense getting more and more psychological and epistemological within the art-world. The identity of an art work is not what the art work has but that which is projected to it by us. Art, ironically, becomes what we believe it is. Art is not autonomous. Art which no longer has any use value had to appeal to the soul, compelled to certificate itself as art by obsessively acting itself. If art work always exceeds its very image, this surplus value is bestowed on it by the audience who not only look at but also hear from the history of modern art.
There is this observation that our century is the century of image, and the power of image will be getting more vigorous. The digital reproduction and cyber technology will develope visually more powerful simulacra, and we will share the artificial reality in the cyber space as if it is actual reality. In this dotted space of technological grid, the fear of image is internally connected with the charm of the image. Magic or fetish, this is the paradox of the icon. Yet, if we cannot imagine imaginative model for the reality, the cyber space will never represent any utopia.
As the concept of “icon” is problematic between ‘good image’ and ‘bad image’, between miracle and fetish. so the grid manifests its being both spirit and matter at the same time. Pop art that is often understood as “the return of the content” and as the beginning of post-modem art, in fact internalized the structure of grid. The “icon” in the pop art is very different in character compared with the icon in the pre-modem art. Pop imagery is a kind of ready-made, appropriated images from the mass media and commodity. Art after modernist art nulled out the concepts of originality and authenticity, and took “repetition” as one of its strategies to obtain that goal. And “repetition” is the very structure of the modernist grid.
An art work is endowed with its artistic identity and value from the institutional mechanism which is in a sense getting more and more psychological and epistemological within the art-world. The identity of an art work is not what the art work has but that which is projected to it by us. Art, ironically, becomes what we believe it is. Art is not autonomous. Art which no longer has any use value had to appeal to the soul, compelled to certificate itself as art by obsessively acting itself. If art work always exceeds its very image, this surplus value is bestowed on it by the audience who not only look at but also hear from the history of modern art.
There is this observation that our century is the century of image, and the power of image will be getting more vigorous. The digital reproduction and cyber technology will develope visually more powerful simulacra, and we will share the artificial reality in the cyber space as if it is actual reality. In this dotted space of technological grid, the fear of image is internally connected with the charm of the image. Magic or fetish, this is the paradox of the icon. Yet, if we cannot imagine imaginative model for the reality, the cyber space will never represent any utopia.
목차
Ⅰ. 아이콘: 성상과 우상
Ⅱ. 그리드(Grid; 격자구조): 모더니즘 미술의 아이콘
Ⅲ. 앤디 워홀과 모더니즘 이후의 아이콘: 복제와 모조
Ⅳ. 결론
참고문헌
Abstract
「그리드를 넘어서: 모더니즘 이후의 아이콘」에 대한 질의
진휘연 선생님의 질의에 대한 답변
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