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
This thesis discusses the human figure sculptures made by Antony Gormley (1950-)in the early 1980s when the issues on 'Revival of Painting' and 'Revival of the Figure' attracted public attention. Gormley successfully 'revived' people's interest in the human figure sculptures, from which the Western sculptors had averted their eyes to the object and the concept itself since 1960s. He unfolded a new paradigm of sculpture.
Since 1981 Gormley made the human figure sculpture in a much different way from traditional sculptors who had focused on simply representing human bodies. To escape from the traditional human figure sculptures, he used the lifecasting method not for copying the object's appearance but as a means for a direct physical experience. He emphasized on the process of casting his own body. However, his sculptures lacked any personal details distinguishing them as a particular human being. Instead, the figures were smoothed out making them completely anonymous. In this context, his works refused portraying, symbolizing, narrating functions of the traditional human figure sculpture and instead universalized the personal experience of life-casting leading the viewers to contemplate human nature and self.
Furthermore, Gormley installed his sculpture works in a particular environment to make the universal experiences of human beings more realistically. The viewers could experience the existential situation made by the relationship between his human figure sculpture and the place and see through the meaning of the situation and the history of the place.
This research investigates the meaning of human body in Gormley's sculpture work which expanded an individual experience to a universal human experience. The human body in his sculptures implied various meanings. Most of all, the sculptor's body make the human figure sculpture not to be a simple represented form of body but a result of the first-hand physical experience. Gormley casted his body and by this casting process he made a concept of human figure sculpture as a 'body-case'. Against this backdrop, the sculptor was a physically-oriented subject, not a visually-oriented subject of the traditional carving and modelling methods. That is to say, Gormley depended on which his whole body feels following the concept of 'body subject' that Merleau-Ponty insisted against 'cogito', traditional western concept of subject connected with the ocular-centrism. He made the radical paradigm shift on not only the human figure sculpture but also the subject of the sculpture.
Moreover, the human body in Gormley's works include the body of the sculptor and the viewers at the same time. He installed the same human figure sculptures in different places in or out of the museum and made them experienced by the viewers differently in each place. Sometimes he installed the sculptures in a historical place to make the viewers experience the situation at the place physically and think about the historical meaning of the place. He included the viewer and the space outside of the sculpture as the part of the work unlike traditional human figure sculptors.
Gormley's works embraced both the physical and psychological experiences of the sculptor and the viewers and the specific environment together with the sculpture to overcome the traditional concept of human figure sculpture as a object itself. Unlike the paintings of 1980s, his sculpture has not only 'formed' but 'experienced' the human body, reflecting his art philosophy which emphasized not on form of art tself but on human affairs.
Since 1981 Gormley made the human figure sculpture in a much different way from traditional sculptors who had focused on simply representing human bodies. To escape from the traditional human figure sculptures, he used the lifecasting method not for copying the object's appearance but as a means for a direct physical experience. He emphasized on the process of casting his own body. However, his sculptures lacked any personal details distinguishing them as a particular human being. Instead, the figures were smoothed out making them completely anonymous. In this context, his works refused portraying, symbolizing, narrating functions of the traditional human figure sculpture and instead universalized the personal experience of life-casting leading the viewers to contemplate human nature and self.
Furthermore, Gormley installed his sculpture works in a particular environment to make the universal experiences of human beings more realistically. The viewers could experience the existential situation made by the relationship between his human figure sculpture and the place and see through the meaning of the situation and the history of the place.
This research investigates the meaning of human body in Gormley's sculpture work which expanded an individual experience to a universal human experience. The human body in his sculptures implied various meanings. Most of all, the sculptor's body make the human figure sculpture not to be a simple represented form of body but a result of the first-hand physical experience. Gormley casted his body and by this casting process he made a concept of human figure sculpture as a 'body-case'. Against this backdrop, the sculptor was a physically-oriented subject, not a visually-oriented subject of the traditional carving and modelling methods. That is to say, Gormley depended on which his whole body feels following the concept of 'body subject' that Merleau-Ponty insisted against 'cogito', traditional western concept of subject connected with the ocular-centrism. He made the radical paradigm shift on not only the human figure sculpture but also the subject of the sculpture.
Moreover, the human body in Gormley's works include the body of the sculptor and the viewers at the same time. He installed the same human figure sculptures in different places in or out of the museum and made them experienced by the viewers differently in each place. Sometimes he installed the sculptures in a historical place to make the viewers experience the situation at the place physically and think about the historical meaning of the place. He included the viewer and the space outside of the sculpture as the part of the work unlike traditional human figure sculptors.
Gormley's works embraced both the physical and psychological experiences of the sculptor and the viewers and the specific environment together with the sculpture to overcome the traditional concept of human figure sculpture as a object itself. Unlike the paintings of 1980s, his sculpture has not only 'formed' but 'experienced' the human body, reflecting his art philosophy which emphasized not on form of art tself but on human affairs.
목차
Ⅰ. 서론
Ⅱ. ‘신체 용기(body-case)’로서의 인체조각 개념
Ⅲ. 탈시각 중심의 주체 개념
Ⅳ. 인테조각을 통한 장소의 역사성 환기
Ⅴ. 결론
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
한국 현대조각 연구사
미술사논단
2020 .06
-
한국 근현대미술에서 ‘조각’ 개념과 그 전개
한국근현대미술사학
2011 .12
-
한국근현대조각 연구사
한국근현대미술사학
2012 .12
-
조각의 장소성에 따른 장소의 작품화 연구 : 1960년대 미니멀리즘 조각의 장소성과 조각, 장소, 관객의 관계를 중심으로
한국실내디자인학회 학술대회논문집
2016 .10
-
고려시대 裸形男子倚像 : 고려 태조 왕건상 試論
미술사논단
2005 .12
-
Color, the 5th dimension in sculpture
한국색채학회 학술대회
2020 .05
-
Colors of the Public Art in Urban, Based on Seoul’s Sculpture
AIC 2017 Jeju
2017 .10
-
1950-1960년대 한국의 용접조각
미술사학
2004 .08
-
1965-1972년까지 문신 추상 조각의 전개와 구조 분석
한국근현대미술사학
2019 .07
-
한국 추상조각의 형성과 전개
한국근현대미술사학
2019 .07
-
로버트 어윈의 건축적 조각 연구
현대미술사연구
2007 .12
-
충격가치를 너머선 내면의 소통 : 곰리(Antony Gormley)와 화이트리드(Rachel Whiteread)
서양미술사학회논문집
2009 .02
-
올림픽조각공원 : 조형작품전시공원과 공원의 경계에서
한국근현대미술사학
2018 .12
-
한국 근대 조각의 흐름과 성격
미술사학
1994 .08
-
한국의 풍토와 조형물에 표현된 선의 유형에 관한 연구
한국디자인학회 국제학술대회 논문집
2012 .10
-
환경 조형물이 도심재생에 미치는 영향에 관한 연구 : 서울 정동 갤러리 프로젝트와 광주 어번 폴리(Urban Folly) 프로젝트 중심으로
한국실내디자인학회 학술대회논문집
2011 .05
-
서양 고전조각에서의 원본과 복제
미술사학
2006 .08
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-560-018629732