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 started from the question of the exclusive boundary of Modernist Art. Modernism has been established on the basis of the opposites such as eyes and body, the spiritual and the material, art and non-art, avant-garde and kitsch, original and reproduction, maleness and femaleness, nature and technology, and then, arming with historical necessity, destined as unreversible law, universal moral, and fundamental essence through American theorists such like Alfred H. Barr,Jr., Clement Greenberg, and Michael Fried. It became a very meaningful turning point that in the sixties, the myth of Modernism was criticized and lost its validity, and reappreciated just like a historical happening by the stream of post-Modernism.
But it leaves room for overlooking the discordance between American Modernist theories and historical modernists that we consider as though the myth of Modernism was destroyed just by the criticism and reflection of ex-post-facto. So this study focused on the fact that in the realm of Modernism there have been multiple discourses, which could not be unified as only one narrative, and also a lot of contradictions and ruptures threatening the purity of Modernism.
This thesis selected two historical facts among them. One is that 'robot avant-garde', which overwhelmed modern art in the early 20th century, was excluded as marginal stream in the American Modernist theories. Robot avant-garde ardently worshiped mechanical man as a new subject and object of modern art, and as a 'New Man' of the new world of future. Therefore mechanical man was a symbol in which all the ideals of historical avant-gardes and Modernists were condensed. But the mechanical man, by taking both aspects of the hierarchical opposites premised in Modernist discourse, made the distinction between the pure and the impure invalid, and by revealing the points which that opposites were implicated with political, social, and cultural contexts, brought about the doubt of the purity and autonomy of Modernism itself. This doubleness of mechanical man made his existence invisible or marginal in the American Modernist theories.
The other is a specific group which has been called as the Bauhaus. The experimentations of the Bauhaus were inclined to so-called 'unified art', and therefore expanded boundary of art included even daily life. To theorists who intended to give Modernism a rigid boundary, therefore, the existence of the Bauhaus was very troublesome. This troublesomeness was well expressed in the monumental lineage of modern art created by A. H. Barr, Jr.. The Bauhaus, which existed as a only cut-off in Barr's table, is a Modernist art and at the same time a non-Modernist art. It is boundary or joint itself between the visible lineage of art and non-artistic contexts existing as an empty blank in that table. For the project of the Bauhaus is the extension of art, with violating the boundary of art, and based on the autonomy of vision, with revealing mechanical body which that vision results from.
Therefore, by re-locating robot avant-garde and the Bauhaus into the limited Modernist theories, this thesis intended to relativatize American Modernist discourse and to uncover the fact that Modernism itself was, having countless seams, heterogeneous and non-uniform tendency. The mechanical man of the Bauhaus was constructed through contemporary socio-political contexts and mass culture reversing the purity of Modernism, and the pure vision, accentuated in the field of Modernism, entered upon the stage with and as a part of mechanical body. Consequently, paradoxical aspects such like the mechanical man of the Bauhaus is not the others of Modernist art but one of various centers which made Modernism meaningful, and propose the possibility of multiple Modernism, overcoming singular Modernism which American Modernist theories and the criticism of post-Modernism to Modernism have approved as a premise.
But it leaves room for overlooking the discordance between American Modernist theories and historical modernists that we consider as though the myth of Modernism was destroyed just by the criticism and reflection of ex-post-facto. So this study focused on the fact that in the realm of Modernism there have been multiple discourses, which could not be unified as only one narrative, and also a lot of contradictions and ruptures threatening the purity of Modernism.
This thesis selected two historical facts among them. One is that 'robot avant-garde', which overwhelmed modern art in the early 20th century, was excluded as marginal stream in the American Modernist theories. Robot avant-garde ardently worshiped mechanical man as a new subject and object of modern art, and as a 'New Man' of the new world of future. Therefore mechanical man was a symbol in which all the ideals of historical avant-gardes and Modernists were condensed. But the mechanical man, by taking both aspects of the hierarchical opposites premised in Modernist discourse, made the distinction between the pure and the impure invalid, and by revealing the points which that opposites were implicated with political, social, and cultural contexts, brought about the doubt of the purity and autonomy of Modernism itself. This doubleness of mechanical man made his existence invisible or marginal in the American Modernist theories.
The other is a specific group which has been called as the Bauhaus. The experimentations of the Bauhaus were inclined to so-called 'unified art', and therefore expanded boundary of art included even daily life. To theorists who intended to give Modernism a rigid boundary, therefore, the existence of the Bauhaus was very troublesome. This troublesomeness was well expressed in the monumental lineage of modern art created by A. H. Barr, Jr.. The Bauhaus, which existed as a only cut-off in Barr's table, is a Modernist art and at the same time a non-Modernist art. It is boundary or joint itself between the visible lineage of art and non-artistic contexts existing as an empty blank in that table. For the project of the Bauhaus is the extension of art, with violating the boundary of art, and based on the autonomy of vision, with revealing mechanical body which that vision results from.
Therefore, by re-locating robot avant-garde and the Bauhaus into the limited Modernist theories, this thesis intended to relativatize American Modernist discourse and to uncover the fact that Modernism itself was, having countless seams, heterogeneous and non-uniform tendency. The mechanical man of the Bauhaus was constructed through contemporary socio-political contexts and mass culture reversing the purity of Modernism, and the pure vision, accentuated in the field of Modernism, entered upon the stage with and as a part of mechanical body. Consequently, paradoxical aspects such like the mechanical man of the Bauhaus is not the others of Modernist art but one of various centers which made Modernism meaningful, and propose the possibility of multiple Modernism, overcoming singular Modernism which American Modernist theories and the criticism of post-Modernism to Modernism have approved as a premise.
목차
1. 바우하우스와 모더니즘의 경계 : 순수한 시각과 기계인간
2. 기계인간의 이중적 신체
3. 모더니즘 프로젝트의 역설: 시각적 유토피아 혹은 자본주의적 풍경
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
유럽 모더니즘의 수용과 변질 : 클레멘트 그린버그의 미술론
서양미술사학회논문집
2003 .06
-
한국미술에 있어서 ‘모더니즘’의 의미와 특징
한국근현대미술사학
2011 .12
-
Modernism and Politics of Avant-garde : Has it Changed the Image of Woman?
한국디자인학회 국제초대전도록
2018 .06
-
전후 한국현대미술의 이념적 동인 : 1950년대 한국미술에서의 전통과 모더니즘에 대한 연구
한국근현대미술사학
2013 .06
-
미국 네오아방가르드 미술의 몸의 정치학
현대미술사연구
2010 .06
-
그리드를 넘어서 : 모더니즘 이후의 ‘아이콘(icon)’
미술사학
2001 .08
-
미니멀리즘, 1967
서양미술사학회논문집
1991 .12
-
BAUHAUS의 조형교육방법에 관한 연구
Archives of Design Research
1996 .02
-
형식주의와 모더니즘
현대미술사연구
2004 .12
-
1960년대에서 1970년대로, 전환의 미술 - 그룹 ‘AG’를 중심으로
미술사논단
2015 .06
-
BAUHAUS의 타이포그래피 연구
Archives of Design Research
1998 .05
-
BAUHAUS의 타이포그래피 연구
Archives of Design Research
1999 .08
-
1990년대 중국 아방가르드 미술의 전개와 특징 : ‘후89 미술’을 중심으로
현대미술사연구
2013 .12
-
모더니즘 공간과 포스트모더니즘 공간을 넘어서
현대미술사연구
2016 .12
-
현대미술과 광고 디자인의 퓨전화 경향 : 초현실주의와 팝아트를 중심으로
한국디자인학회 국제학술대회 논문집
2005 .10
-
「인간가족 The Family of Man」전의 이면 : 아메리카니즘의 정치적 선전
현대미술사연구
2008 .12
-
BAUHAUS공방의 형성과 조형활동의 특성에 관한 연구
Archives of Design Research
1996 .11
-
BAUHAUS공방의 형성과 조형활동의 특성에 관한 연구
Archives of Design Research
1997 .05
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-560-018685429