벨팅의 예술종언론과 현대미술의 기술 방법 (Belting's Theory of Art's Ending and His Methodology for Writing Modern Art)

서지정보

· 발행기관 : 한국동서철학회
· 수록지 정보 : 동서철학연구 / 58호 / 69 ~ 97페이지
· 저자명 : 최병길

초록

19-20세기로의 전환기 예술가들은 창작의 목표를 대상의 모방적 정확성에 두었지만, 성공을 거두지 못했다. 이것은 예술사의 본성에 의문을 제기함과 동시에 재현적인 정확성의 목표도 포기하도록 이끌었다. 그 상황을 반영하는 학설들은 제들마이어의 근대예술비판론, 그리고 벨팅, 후쿠야마, 단토, 모건, 쿠스피트로 이어지는 예술종언론이었다.
벨팅은 자신의 『예술종언론?』 후반부에서 바자리의 『예술가열전』을 분석하면서 예술의 역사적 발전, 그리고 추후의 예술사 저술의 발전에 미친 영향을 시험했다. 예술이 르네상스로부터 지속된 전통적인 예술사학자들이 수행한 규범적 판단의 문맥 속에서 시험되기보다는 차라리 현재에 유행하고 있는 태도들의 문맥 속에서 시험되어야만 한다고 보았기 때문이다.
그러나 그가 당시에는 결정적인 대안을 제시하지 못하다가 2000년 이후에야 현대미술의 전개를 당대의 다양한 문화사적, 인종사적, 더 나아가서는 인류학적 맥락에서 기술되어야 한다는 주장으로 전환하고 있다. 그는 새로운 전형을 제안하기보다는 차라리 개별적인 작품들에 대해 관심을 늘릴 것을 권유한다. 그가 고민 끝에 제시한 예술사 방법론은 이미지 이론과 형상인류학이었다. 결론적으로 그는 지구촌의 시대에 부응하여 인류학을 예술사학에 끌어들임으로써 그 학문의 지평을 전 세계적으로 확장하고 있는 것이다.

영어초록

Hans Belting, through an examination of Vasari’s Lives of the Artists in the second-half of his The End of the History of Art?, inspected the influence upon the historical development of art, and the development of subsequent writings of art history. It implies that any kind of art history which does not take into consideration the contemporary art practice, function and experience is ultimately inadequate. For art must be considered not from the canonical judgment persistently pursued by traditional art historians in the Renaissance period, but from the attitude in vogue recently. Various art movements produced since the modern times were a worldwide trend beyond the limits of race or region. Thus it would be compulsory to avoid a method to discuss an art form that belonged to a country or cultural network like the Renaissance period.
The pivotal theme of his The End of the History of Art? was to attempt to discover a method for overcoming the separation of modern art history from the contemporary art practice and experience. What is meant by his book is not an end of that discipline, but that of a special concept such as art-historical development as a continuity of meaningful and developing history. It was to grope at a methodology to write about an art form after modernism, proceeding in a pattern quite different from those of the past.
Well, Belting advises us to increase our concern on individual artworks rather than to propose a new type. For he saw the unprecedented variety of modern art. His final methodology of art history was image theory and Bildanthropologie. For instance, the images that he suggested with Video art were real and fictional ones, that is, which speaks for the phenomenon of modern culture. He grasped a methodical motif for writing about modern art by establishing a relationship between the two. Belting is endeavoring to write about modern art with Video art, just as Danto's attempt to write about modern art with Pop art, who argued the end of art in a voice as same as him.
Additionally, he is expanding the horizon of that discipline worldwide, by inducing anthropology into the realm of art history in accordance with globalization. From that sense, his innovative art history could be called a broad-sense art history or image art history or anthropological art history.

참고자료

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