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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This paper studies the sense of media in the works of Laszlo Moholy-Nagy, a key figure in the art history of avant-garde. By doing so, it aims to reveal the relationship between old media and new media. Moholy-Nagy is known for his work in traditional media such as sculpture and painting, but also in new media such as photography and .lm, as well as typography, design, advertising. But the most original contributions of Moholy-Nagy in art history are his experimentation in light art, kinetic art, experimental film, installations. He stresses on all of these art practices and art education by which he tries to cultivate the new man. For Moholy-Nagy this man means the whole man who can prepare for the complex situation of the future society.
His media aesthetics are comprised of three elements which are machine, light, dynamism. Moholy-Nagy tries to break with the past, old media esthetics which are the hand, pigment, static. Moholy Nagy takes interest in such new media because he understood by the early 1920s that the reproducibility of technically based media such as photography and .lm, the proliferation of image through mass media, and an increasingly urbanized world have placed us into a fundamentally new situation. The Futurists wrote of simultaneity, the parallel stimulation of our senses from multiple sources. Moholy-Nagy felt that people needed guidance to cope with this simultaneous environment. At the heart of his project was teaching and education by which he tries to make a new kind of man, a new kind of society.
His media aesthetics are comprised of three elements which are machine, light, dynamism. Moholy-Nagy tries to break with the past, old media esthetics which are the hand, pigment, static. Moholy Nagy takes interest in such new media because he understood by the early 1920s that the reproducibility of technically based media such as photography and .lm, the proliferation of image through mass media, and an increasingly urbanized world have placed us into a fundamentally new situation. The Futurists wrote of simultaneity, the parallel stimulation of our senses from multiple sources. Moholy-Nagy felt that people needed guidance to cope with this simultaneous environment. At the heart of his project was teaching and education by which he tries to make a new kind of man, a new kind of society.
목차
I. 머리말
II. 손에서 기계로
III. 안료에서 빛으로
IV. 정적에서 동적으로
V. 맺음말: 매체의 공존
참고문헌
Abstract
참고문헌 (20)
참고문헌 신청
1. [단행본] - Baqué, Dominique / 2008 / “Ecrire de la lumière.” in Laszlo Moholy-Nagy, Peinture, photographie, film: et autres écrits sur la photographie, traduit de l’allemand par Catherine Wermester et de l’anglais par Jean Kempf et Gérard Dallez, préface de Dominique Baqué / Gallimard
2. [단행본] - Hight, Eleanor M. / 1995 / Picturing Modernism: Moholy-Nagy and Photography in Weimar Germany / MIT Press
3. [단행본] - Huelsenbeck, Richard / 1920 / Dada Almanach / Erich Reiss Verlag
4. [단행본] - Moholy Nagy, Laszlo / 2008 / “Production ― Reproduction.” 1922. in Laszlo Moholy-Nagy, Peinture, photographie, film: et autres écrits sur la photographie, traduit de l’allemand par Catherine Wermester et de l’anglais par Jean Kempf et Gérard Dallez, préface de Dominique Baqué / Gallimard
5. [단행본] - Moholy Nagy, Laszlo / 1985 / Mátyás Esterházy, Moholy-Nagy / Thames and Hudson
2. [단행본] - Hight, Eleanor M. / 1995 / Picturing Modernism: Moholy-Nagy and Photography in Weimar Germany / MIT Press
3. [단행본] - Huelsenbeck, Richard / 1920 / Dada Almanach / Erich Reiss Verlag
4. [단행본] - Moholy Nagy, Laszlo / 2008 / “Production ― Reproduction.” 1922. in Laszlo Moholy-Nagy, Peinture, photographie, film: et autres écrits sur la photographie, traduit de l’allemand par Catherine Wermester et de l’anglais par Jean Kempf et Gérard Dallez, préface de Dominique Baqué / Gallimard
5. [단행본] - Moholy Nagy, Laszlo / 1985 / Mátyás Esterházy, Moholy-Nagy / Thames and Hudson
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