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Theatricality has emerged as one of the most prolific concepts in contemporary photographic art. Artists in this theatrical mode of photography include Jeff Wall, Philip-Lorca diCorcia, Thomas Struth, Andreas Gursky, Luc Delahaye, or Juul Hondius whose staged or dramatized documentation of the real with captivating pictorial clarity and scale have established a new tradition of photography-as-art after the medium’s conventional credibility ran out in this post-photographic era.
However, within a critical tradition of modern art history, to define photography as a type of theater is to deny its aesthetic autonomy and authenticity because it would necessarily entail “a plea for another genre” which is “the negation of art.” Michael Fried, who first sketched this anti-theatrical tradition in his famous essay, “Art and Objecthood” (1967) revisits and reinforces this view in his recent book, Why Photography Matters as Art as Never Before (2008). Fried’s basic lines of argument in this book suggest that contemporary photographic arts reinstate the anti-theatrical tradition of much older French paintings in their absorptive pictorial quality, reinstating the medium’s art historical contingency and aesthetic autonomy. However, although Fried’s attention throughout the book is paid exclusively to elaborating both critical and historical continuity of this anti-theatrical tradition in photography, most of his critical languages rather, as I argue in this essay, reassure a more dynamic relation between the theatrical and the anti-theatrical, giving his readers an opportunity to rethink the medium’s new task and role beyond Fried’s explicit aesthetic discourse.
In this paper, therefore, I first review and analyze Fried’s new theory of photography in consideration to its interlocking relationship with his earlier works. Then I will explain how Fried’s new photographic theory contributes, beyond many critical doubts on the theory’s untimely modernist view, to the current discourse that questions the role of fine art and tasks of the beholder in the radical paradigm changes of the new media era.
However, within a critical tradition of modern art history, to define photography as a type of theater is to deny its aesthetic autonomy and authenticity because it would necessarily entail “a plea for another genre” which is “the negation of art.” Michael Fried, who first sketched this anti-theatrical tradition in his famous essay, “Art and Objecthood” (1967) revisits and reinforces this view in his recent book, Why Photography Matters as Art as Never Before (2008). Fried’s basic lines of argument in this book suggest that contemporary photographic arts reinstate the anti-theatrical tradition of much older French paintings in their absorptive pictorial quality, reinstating the medium’s art historical contingency and aesthetic autonomy. However, although Fried’s attention throughout the book is paid exclusively to elaborating both critical and historical continuity of this anti-theatrical tradition in photography, most of his critical languages rather, as I argue in this essay, reassure a more dynamic relation between the theatrical and the anti-theatrical, giving his readers an opportunity to rethink the medium’s new task and role beyond Fried’s explicit aesthetic discourse.
In this paper, therefore, I first review and analyze Fried’s new theory of photography in consideration to its interlocking relationship with his earlier works. Then I will explain how Fried’s new photographic theory contributes, beyond many critical doubts on the theory’s untimely modernist view, to the current discourse that questions the role of fine art and tasks of the beholder in the radical paradigm changes of the new media era.
목차
Ⅰ. Prologue
Ⅱ. Michael Fried: Why Photography Matters as Art as Never Before
Ⅲ. Dynamics of “To See” and “To Be Seen” or Theater and Anti-Theater
Ⅳ. Fried’s Blindness and Insight: Photography as a Theater
Ⅴ. Emancipation of Photography and the Spectator in Theater
Ⅵ. Epilogue
Bibliography
Abstract
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UCI(KEPA) : I410-ECN-0101-2014-600-002875193