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
Andy Warhol's repetitive style of silkscreen use, his frequent appropriation of popular and commercial images, and his position at the turning point to Postmodernism provide art critics with diverse options for discussion. Ever since his famous comment, "Just look at the surface of my painting. There I am. There is nothing behind", interpretation on his art has been divided into two parts; one is to literally accept his idea, and the other is to create a deeper meaning behind the idea.
Jean Baudrillard, one of the most prominent post-structural theorists, valued Andy Warhol as the most important artist who visualized modern society as images that take over reality. To Baudrillard, Warhol's art infinitely reproduces commercial images and signs, represents the logic of the modern consumer society and a technology-dominated era. Therefore his art is just a surface that lacks reality.
On the contrary, Thomas Crow emphasized that we need to see his art itself, and Crow made clear deep meanings under the surface of Warhol's images. Based on the fact that overall images of Warhol's art are close connected with death, Crow suggested that Warhol, in his Death and Disasters' series (1962-1965), expresses a mourning sentiment over death, and implicates a sharp critical view on society and politics.
But Albert Borgman and Anthony King criticized Baudrillard's hyper-reality as an illusion that ignores reality, so his hyper-reality theory will be dismantled to show that there are cracks in reality. Paul Mattick criticized Crow's idea, which overlooked the evident fact that the surface of mass media and commercial signs are his art.
While criticizing each other, those opposing groups arrived at a more persuasive argument It means that Warhol's pictorial surface has a paradoxical structure. As Carter Ratcliff and Daniel Herwiz pointed out, "penetration impossible" and "resistance" of Warhol's surface caused an unwavering interest in Warhol's images.
Hal Foster argued that Warhol's painting is surface and at the same time it has deep meaning. He employed the psychoanalytical concept of Jacques Lacan to explain the paradoxical structure in Warhol's painted surface. The Real, Lacanian concept, is connected with Trauma. Since the Real is impossible to be fully understood, it slips on surface. But the Real returns onto the surface through the shock and scar in the scene of Warhol's painting and the rupture and shaking of image. He read Warhol's painted surface as the traumatic meaning of the Real. Accordingly, Foster reached a conclusion that Warhol's image is the modern viewpoint of the optical unconscious, historical confusion between individual and public, hysterical connection between the subject and the object, a forged psychological situation through disasters and death fabricated by mass media.
This study pays attention to Hal Foster's interpretation as an alternative to the polemic view on Andy Warhol's art. Foster succeeded in providing a comprehensive view on the paradoxical structure of Andy Warhol's surface with appropriate explanation of the question of resistance on the surface.
As Slavoj ?i?ek and Mark Seltzer pointed out contemporary art not only observes the return to the flatness that resurrected in the era of Postmodern art which blurred hard and fast rules about perspective, but also shows the return of body, the return of trauma, and the immersion to trauma. Andy Warhol's shocking scenes of 1960's "Death and Disasters" proves that Andy Warhol was already at the turning point to the new era with the controversial surface that kept raising a question about the tug-of-war between reality and image, what is outside and what is beneath.
Jean Baudrillard, one of the most prominent post-structural theorists, valued Andy Warhol as the most important artist who visualized modern society as images that take over reality. To Baudrillard, Warhol's art infinitely reproduces commercial images and signs, represents the logic of the modern consumer society and a technology-dominated era. Therefore his art is just a surface that lacks reality.
On the contrary, Thomas Crow emphasized that we need to see his art itself, and Crow made clear deep meanings under the surface of Warhol's images. Based on the fact that overall images of Warhol's art are close connected with death, Crow suggested that Warhol, in his Death and Disasters' series (1962-1965), expresses a mourning sentiment over death, and implicates a sharp critical view on society and politics.
But Albert Borgman and Anthony King criticized Baudrillard's hyper-reality as an illusion that ignores reality, so his hyper-reality theory will be dismantled to show that there are cracks in reality. Paul Mattick criticized Crow's idea, which overlooked the evident fact that the surface of mass media and commercial signs are his art.
While criticizing each other, those opposing groups arrived at a more persuasive argument It means that Warhol's pictorial surface has a paradoxical structure. As Carter Ratcliff and Daniel Herwiz pointed out, "penetration impossible" and "resistance" of Warhol's surface caused an unwavering interest in Warhol's images.
Hal Foster argued that Warhol's painting is surface and at the same time it has deep meaning. He employed the psychoanalytical concept of Jacques Lacan to explain the paradoxical structure in Warhol's painted surface. The Real, Lacanian concept, is connected with Trauma. Since the Real is impossible to be fully understood, it slips on surface. But the Real returns onto the surface through the shock and scar in the scene of Warhol's painting and the rupture and shaking of image. He read Warhol's painted surface as the traumatic meaning of the Real. Accordingly, Foster reached a conclusion that Warhol's image is the modern viewpoint of the optical unconscious, historical confusion between individual and public, hysterical connection between the subject and the object, a forged psychological situation through disasters and death fabricated by mass media.
This study pays attention to Hal Foster's interpretation as an alternative to the polemic view on Andy Warhol's art. Foster succeeded in providing a comprehensive view on the paradoxical structure of Andy Warhol's surface with appropriate explanation of the question of resistance on the surface.
As Slavoj ?i?ek and Mark Seltzer pointed out contemporary art not only observes the return to the flatness that resurrected in the era of Postmodern art which blurred hard and fast rules about perspective, but also shows the return of body, the return of trauma, and the immersion to trauma. Andy Warhol's shocking scenes of 1960's "Death and Disasters" proves that Andy Warhol was already at the turning point to the new era with the controversial surface that kept raising a question about the tug-of-war between reality and image, what is outside and what is beneath.
목차
1. 서론
2. 앤디 워홀 회화의 표면성에 관한 대립적 논의
3. 앤디 워홀 회화의 표면성에 관한 대안적 논의
4. 결론
참고문헌
Abstract
참고문헌 (0)
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