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자료유형
학술저널
저자정보
저널정보
현대미술학회 현대미술학 논문집 현대미술학 논문집 제12호
발행연도
2008.12
수록면
7 - 52 (46page)

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초록· 키워드

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What does it mean to speak of public art? To what extent does it make sense to speak of a 'publicity' in art world? The challenges and contradictions of public art in contemporary culture situation have never been greater. For the fields of art and culture global capitalism more and more demands becoming industrialize and commercialize, public art also confronts same situation. In this moments, I will argue about public art's identity and social function.
In western culture, since the end of the 19th century, traditional monuments began to lose their visual-symbolic effectiveness. Then artists have invented new ways of creating effective participations or interventions in public space while also attempting to address a wide array of public audience. For example, S. Lacy who suggested the concept of 'New Genre Public art' in Mapping the Terrain: New Genre Public Art(1995) encouraged more contemporary artists to work their creation or activity for social community.
The first section of this essay will be considered to the problem of defining a public art in relation to community that are, by their nature, "exposed"―inhabiting spaces that are deemed public or common. Especially I will discuss the possibility of art for community's sake beyond 'art for art's sake', by making reference to the Walter Benjamin's late art theory that he examined the new identity and function of modern art under the social condition of modern era.
The second section might be the crucial part of this essay. Because my debate as a kind of case study on the success or failure of some artists's art works or activities in the public sphere. First, I will investigate the matter of process that art works gain in the popularity and publicity, by discussing between the A. Warhol's 〈Disaster painting〉 and F. Gonzalez-Torres's 〈Untitled〉 installation series. Second, my argument is deal with the problem of artistic methodology that public art works can be functioning as the productive medium for the collective memory and experience. In this part, I will focus on two well-documented examples of public art: M. Lin's 〈Vietnam Veterans Memorial〉 and A. Gormley's 〈Angel of the North〉. Both examples proved exceptionally controversial, and the nature of these controversies will serve to illuminate a number of the main issues raised in this essay.

목차

Ⅰ. 들어가는 말
Ⅱ. 이론적 고찰 : 공공미술은 ‘공동체를 위한 예술’인가?
Ⅲ. 사례 분석 : 예술은 어떻게 공공성을 띠며 공동체에 기여하는가?
Ⅳ. 나가는 말
참고문헌
Abstract

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