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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
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This study intends to analyze the reason why Gary Hill's works are hard to be categorized in the established history of video art while he is regarded as an influential video artist. For this purpose, this study gives an account that the existing history of video art is molded as an aesthetic discourse in which the hybrity and the multiple background of video art are overlooked. Diversity of Gary Hill's works, however, have not been fully described in the current history of video art. This study focuses on the fact that the artist's early works which are condensed as self-referenciality result in searching for the identity of video art.
Gary Hill underlines the tension between elements in work. It is an attempt to reveal the ambiguous boundary of video art. That is what he has noticed searching for its identity through various experiments on video medium. It also results from the fact that he shares the contemporary philosophy and literature questioning the indetermination of meaning. In this context, this study starts from analyzing Gary Hill's works on the basis of post-structural linguistics. On one hand, it is because that many art critics have related his works to philosophy of language. On the other hand, his intention to reveal uncertainty of video art is considered to take the post-structural standpoint on language.
He pursues the flexible meanings of works by stressing on the conflicting state in which heterogeneous elements such as language and image, body and technology, virtual reality and actual reality coexist. Moreover, He reinforces the unsettled state of work with interactive system by considering spectators as a part of work and leading their active participation in works. Like this, Hill attempts to tear down the boundary between subject(spectator) and object(work) by creating a space where heterogeneous elements are interwoven and making the spectators interact within it. His works undermine certainty of borders. It is a 'textual' space where the meaning of work is indefinite.
Meanwhile, Hill emphasizes the fact that his works are produced by technology. He refers to the increasing influence of technology by presenting the current situation diminishing the gap between real and non-real: he proposes a new being appeared in the technology-omnipresent world by combining body and technology; he also presents virtual reality through projecting images into the real space. The images cause the confusion between real thing and non-real. Nevertheless, he doesn't make his position clear by emphasizing a conflicting condition between body and technology, virtual reality and actual reality.
To sum up, Gary Hill's works are metaphor of contemporary art whose border is undecided and whose concept is uncertain. It takes general discussion on the question of the whole art out of search for the identity of video art. Continuing to transgress the limit of art field, he undermines the established territory. He elucidates plural quality of contemporary art in that intersection among the genres is often observed. Therefore, it could be evaluated that Gary Hill's work in contemporary art enlarge the boundary of art and delay completing the meaning by emphasizing intertextuality.
Gary Hill underlines the tension between elements in work. It is an attempt to reveal the ambiguous boundary of video art. That is what he has noticed searching for its identity through various experiments on video medium. It also results from the fact that he shares the contemporary philosophy and literature questioning the indetermination of meaning. In this context, this study starts from analyzing Gary Hill's works on the basis of post-structural linguistics. On one hand, it is because that many art critics have related his works to philosophy of language. On the other hand, his intention to reveal uncertainty of video art is considered to take the post-structural standpoint on language.
He pursues the flexible meanings of works by stressing on the conflicting state in which heterogeneous elements such as language and image, body and technology, virtual reality and actual reality coexist. Moreover, He reinforces the unsettled state of work with interactive system by considering spectators as a part of work and leading their active participation in works. Like this, Hill attempts to tear down the boundary between subject(spectator) and object(work) by creating a space where heterogeneous elements are interwoven and making the spectators interact within it. His works undermine certainty of borders. It is a 'textual' space where the meaning of work is indefinite.
Meanwhile, Hill emphasizes the fact that his works are produced by technology. He refers to the increasing influence of technology by presenting the current situation diminishing the gap between real and non-real: he proposes a new being appeared in the technology-omnipresent world by combining body and technology; he also presents virtual reality through projecting images into the real space. The images cause the confusion between real thing and non-real. Nevertheless, he doesn't make his position clear by emphasizing a conflicting condition between body and technology, virtual reality and actual reality.
To sum up, Gary Hill's works are metaphor of contemporary art whose border is undecided and whose concept is uncertain. It takes general discussion on the question of the whole art out of search for the identity of video art. Continuing to transgress the limit of art field, he undermines the established territory. He elucidates plural quality of contemporary art in that intersection among the genres is often observed. Therefore, it could be evaluated that Gary Hill's work in contemporary art enlarge the boundary of art and delay completing the meaning by emphasizing intertextuality.
목차
Ⅰ. 서론
Ⅱ. 비디오 아트의 상호텍스트성과 게리 힐의 작업
Ⅲ. 상이한 기호들의 상호텍스트성
Ⅳ. 결론
참고문헌
Abstract
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