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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The 'Warholian enigma' has not been solved even after his death almost 20 years ago, and Warhol scholarship is still in the srate of debate and confusion. But one of the most important recent development or change is the discussion on his gay identity and homosexuality that have been hidden or unacknowledged so far. The traditional Warhol study has been indifferent to the issue, and the 'orthodox' art history censored his homoeroticism assuming that the artist's private life and his art were two different things. The Symposium at Duke University 'Re-Reading Warhol: The Politics of Warhol' (1993) and its subsequent publication in addtion to many articles investigating the closeted Warhol changed the tide. In the process, the notion of camp became one of the essential issues concerning Warhol's art
Susan Sontag's justly famous "The Notes on 'Camp'" triggered the popular acceptance of pop art and camp in popular culture, and the recent studies on pop art, camp, and popular culture revealed the complex and multi-layered inter-relationships among them. But in the 1960's, art criticism and culture history were indifferent to this phenomenon. Art criticis and historians completely neglected the camp issue and were critical to pop art at first, but changed the attitude when pop art was accepted by the public and the collectors ; they tried to realign it to the avantgarde precedents.
Sontag's article had a phenomenal success among the mass media in the 60's and Warhol was also well aware of it. But she was criticized by the gay theorists for the confusion between camp and 'pop camp' and for degaying of camp, which originally was homosexuals' resisitant strategy in the homophobic society. Warhol's relation regarding to camp is rather complicated because as a gay he was camp and as a pop artist, pop camp as well. But this is not a matter of choice. He had the camp sensibilities and expressed it in his works. His interest in the recycling of the leftover and in the decoration and artificiality of the drag and superstar are camp examples. Influenced by the gay novelist Jean Genet, he made 〈13 Most Wanted Man〉 and produced the flower paintings and his comic strip images such as 〈Dick Tracy〉 and 〈Popeye〉 show embedded homoeroticism.
We all have thousands of his image contradicting each other, and the ultimate Warhol that is unified and genuine may be a fantasy. But the reason he is the constant focus of the debate is that his works are still making poignant statements to postmodern culture and art.
Susan Sontag's justly famous "The Notes on 'Camp'" triggered the popular acceptance of pop art and camp in popular culture, and the recent studies on pop art, camp, and popular culture revealed the complex and multi-layered inter-relationships among them. But in the 1960's, art criticism and culture history were indifferent to this phenomenon. Art criticis and historians completely neglected the camp issue and were critical to pop art at first, but changed the attitude when pop art was accepted by the public and the collectors ; they tried to realign it to the avantgarde precedents.
Sontag's article had a phenomenal success among the mass media in the 60's and Warhol was also well aware of it. But she was criticized by the gay theorists for the confusion between camp and 'pop camp' and for degaying of camp, which originally was homosexuals' resisitant strategy in the homophobic society. Warhol's relation regarding to camp is rather complicated because as a gay he was camp and as a pop artist, pop camp as well. But this is not a matter of choice. He had the camp sensibilities and expressed it in his works. His interest in the recycling of the leftover and in the decoration and artificiality of the drag and superstar are camp examples. Influenced by the gay novelist Jean Genet, he made 〈13 Most Wanted Man〉 and produced the flower paintings and his comic strip images such as 〈Dick Tracy〉 and 〈Popeye〉 show embedded homoeroticism.
We all have thousands of his image contradicting each other, and the ultimate Warhol that is unified and genuine may be a fantasy. But the reason he is the constant focus of the debate is that his works are still making poignant statements to postmodern culture and art.
목차
1. 여는 말
2. 팝아트와 대중문화
3. 캠프
4. 범죄자와 꽃
5. 워홀과 포스트모더니즘
참고문헌
Abstract
참고문헌 (6)
참고문헌 신청
[학술지(정기간행물)] - / 1999 / Camp : Queer Aesthetics and the Performing Subject
[학술지(정기간행물)] - / 1996 / Pop Out
[학술지(정기간행물)] - / 1993 / Modes of Disclosure The Construction of Gay Identity and the Rise of Pop Art American Art in Transition 1955-62 LA Museum of Contemporary Art
[학술지(정기간행물)] - / 1997 / and Gossip in the 1960s
[학술지(정기간행물)] - / 1999 / Pop Art and the Contest over Culture
[학술지(정기간행물)] - / 1996 / Pop Out
[학술지(정기간행물)] - / 1993 / Modes of Disclosure The Construction of Gay Identity and the Rise of Pop Art American Art in Transition 1955-62 LA Museum of Contemporary Art
[학술지(정기간행물)] - / 1997 / and Gossip in the 1960s
[학술지(정기간행물)] - / 1999 / Pop Art and the Contest over Culture
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