사진의 혼성적 공간: 프란체스카 우드만의 경계를 넘나드는 사진 (Francesca Woodman: The Hybrid Space of Photography)

서지정보

· 발행기관 : 현대미술사학회
· 수록지 정보 : 현대미술사연구 / 35호 / 59 ~ 86페이지
· 저자명 : 이필

초록

This essay reassess the photography of Francesca Woodman in the context of the discourses of photography in the late 1970s and 80s. I point out that the lack of the analysis of Woodman’s photographic images in postmodernists’ discussions of photography overlooked Woodman’s pursuit of both the conceptual and the aesthetic in her works. By a thorough analysis of Woodman’s photographs, I observe that Woodman’s work not only has a visual and conceptual power that continuously requires the analysis of the photographic image itself, but also has a hybrid condition of the medium that postmodernists claimed to be postmodern. I argue that the emphasis of Woodman being a female artist and approaching her work from the representation of the female body and of female desire also overlook Woodman’s more complex insight into the context of her contemporary art and her exploration of the photography as a multi-faceted medium. Apart from the application of feminist theory and psychoanalysis, I explore how Woodman’s interest in blurring the boundaries among human body/things/space has been represented as photographic images. Furthermore, I explore how Woodman’s radical approach to the photographic medium achieves aphotographic image that includes the painterly/sculptural/cinematic/theatrical. Finally, my meta-criticism of postmodernist art criticism through the analysis of Woodman’s photography argues for a photographic theory that is simultaneously aesthetic and conceptual.

영어초록

This essay reassess the photography of Francesca Woodman in the context of the discourses of photography in the late 1970s and 80s. I point out that the lack of the analysis of Woodman’s photographic images in postmodernists’ discussions of photography overlooked Woodman’s pursuit of both the conceptual and the aesthetic in her works. By a thorough analysis of Woodman’s photographs, I observe that Woodman’s work not only has a visual and conceptual power that continuously requires the analysis of the photographic image itself, but also has a hybrid condition of the medium that postmodernists claimed to be postmodern. I argue that the emphasis of Woodman being a female artist and approaching her work from the representation of the female body and of female desire also overlook Woodman’s more complex insight into the context of her contemporary art and her exploration of the photography as a multi-faceted medium. Apart from the application of feminist theory and psychoanalysis, I explore how Woodman’s interest in blurring the boundaries among human body/things/space has been represented as photographic images. Furthermore, I explore how Woodman’s radical approach to the photographic medium achieves aphotographic image that includes the painterly/sculptural/cinematic/theatrical. Finally, my meta-criticism of postmodernist art criticism through the analysis of Woodman’s photography argues for a photographic theory that is simultaneously aesthetic and conceptual.

참고자료

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