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ㆍ발행기관 : 미술사문화비평학회 ㆍ수록지정보 : 미술사문화비평 / 4권
ㆍ저자명 : 이해미
ㆍ저자명 : 이해미
Ⅱ. 스펙터클의 모방과 재현
Ⅲ. 체험과 소통의 장
Ⅳ. 주체성의 회복
영어 초록This thesis is on installations of Barbara Kruger(1945~). Kruger has made viewers experience the work and grasp the meaning themselves by using images and texts. The artist doesn’t provide the meaning she thinks to viewers and make them accept her intention. Instead, she provides viewers with the work as the passage they realize the meaning of the work by. Those efforts of Kruger are maximized in the installations, which has been made since 1989. The installations where the images and texts were expanded to the floors the viewers stood and the walls and ceilings surrounding them stimulate the perceptions of the audience more aggressively than the plane works in 1970s and 1980s did. In the late 1970s, Kruger observed nearby buildings closely and made the work arranging the picture of building and the story which might have happened in it. Her interest in architecture which she thinks dominates and control one’s personal life gets connected to the idea of the subject leading a passive life in unequal power structure which is not so easy to perceive. In 1980’s Kruger criticized the social structure overflowing with visual images and informations indiscriminately by mass media. Also, she completed her style which combined the image and text at one place in 1980’s. The images in black-and-white and the texts in white and red became Kruger’s trademark. Based on such careers, Kruger produced installations in 1989 where images and texts were expanded to the three-dimensional space. Although Kruger has made installations with images and texts, there are some changes such as a large scale, using video and sound. Like the advertisement, the past work form which caught the people’s eyes in a moment was transformed into the large scale in order for viewers to encounter the work with their whole body rather than just see in front of their eyes. Through installations, kruger has intended to recover the subjectivity of consciousness of audience, which she believes has been controlled by mass media culture. This study considered this by using Guy Debord’s spectacle, who had referred to the society of spectacle where the essence, reality were less important than the imitation, illusion and the independent subject was alienated. Installations is site-specific in a way that its size, composition and the contents of images and texts depend on locational characteristics. As turning their heads, walking and moving around, the viewers get immersed in the work which Kruger made with images, texts and video using provided space. Kruger’s installation work becomes a place for experience, attracting the physical participation of audience and then the immediacy of experience is strengthened by her direct address. Through the personal pronoun, the interrogative and the dialogic sentence, Kruger encourages viewers to set their positions in the work. Accordingly viewers can make their own meaning of work, keeping their distance from it. In this way, Kruger made viewers absorb in the work and keep distance from it while she divided the space into the physical place and the place for them. Then the viewers can overcome the passive attitude prevalent in the spectacle society and be the independent subject after a creative process such as experiencing Kruger’s work themselves and making their own meaning.
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