신자유주의 시대 미술의 두 가지 가능성: 데미안 허스트와 펠릭스 곤잘레스 토레스 (Two Different Approaches of Artists in the Neo-Liberal Era: Damien Hirst and Felix Gonzalez-Torres)

서지정보

· 발행기관 : 현대미술사학회
· 수록지 정보 : 현대미술사연구 / 37호 / 153 ~ 177페이지
· 저자명 : 이승현

초록

이 논문은 데미안 허스트와 펙릭스 곤잘레스 토레스 두 작가를 통해서 이 시대의 경제논리가 이들의 작품에 어떻게 드러나고 작용하는가를 살펴보았다. 두 작가의 비교를 통해서 포스트모더니즘 이론의 기초가 되었던 후기자본주의 시대와 달리 신자유주의 시대에 요구되는 미술과 미술담론에 대한 단서를 구해보고자 시도했다.

영어초록

After postmodernism was firmly theorized early 1980’s, new neo-liberalist economic policies changed the landscape of world economy and society. This paper examines the effect of this socio-economic change on Damien Hirst and Felix Gonzalez-Torres and their artworks. Damien Hirst and Felix Gonzalez-Torres both exemplify how changes inthe artist’s attitude caused by neoliberalist economic policies influence the representation of society in their works. Neo-liberalism took capitalism one step further, allowing market economy to reach its extremes and society to be governed by extravagance. Whereas Warhol used the surface images of consumer society to represent his era, Hirst appropriated the foundational operating mechanisms of consumer society. For instance, in his work For the Love of God, Hirst ingeniously used expensive materials in the very process of making his art and thus established himself as one of the highest priced artists in the world. Whereas Hirst used the logic of market economy to be successful as an artist, Gonzalez-Torres used it to criticize consumer society through his artworks. A postmodern theorist Frederic Jameson once said that the invention and projection of global cognitive mapping is crucial. In a neo-liberalist world, however, the imminent mission is not just the cognitive mapping but rather the cognitive change for a better future.

참고자료

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