관람자(Audience)에 대한 대안적 접근 : 수잔 레이시 작품속에서 (Suzanne Lacy : The Alternative Access of the Audience)

서지정보

· 발행기관 : 미술사학연구회
· 수록지 정보 : 미술사학보 / 30호 / 61 ~ 91페이지
· 저자명 : 박윤조

초록

Suzanne Lacy is an internationally known artist whose work includes installations, video, and large-scale performances on social themes and urban issues. Since 1970, her work has addressed a broad range of social and political themes, including violence against women, racism, incarceration, homelessness, poverty, medical care, education, and world peace. Her artworks take the form of installations, social process, writing, photography, and performance, and are often expansive collaborations with large numbers of individuals. Most of her major works are documented by video or television and include media literacy and analysis. In a series of large urban installations on violence against women, she broadened the collaborative process to include police, politicians, hotline activists and reporters, creating together multi-sited works that address social issues. There are connective threads between Lacy’s works and activist art of Lucy R. Lippard. Activist art, called ‘the movement for cultural democracy’, is process-oriented. These considerations have led to a radically different approach to artmaking. Tactics, or strategies of communication and distribution, enter into the creative process, as do activities usually considered separate from it, such as community work, meetings, graphic design, postering. The most impressive contributions to current activist art are those that provide not only new images and new forms of communication, but also delve down and move out into social life itself, through long-term activities such as Lacy’s artworks. Activist art takes years to develop formally effective ways to exchange powers with one’s chosen audience. It must emphasize clarity of meaning and communication. This pattern is completed by the actions of both participants and the audience. They plan and implement the project, including community organizing, leadership training, and public art workshops. Lacy’s contention of artists’ roles is to shape the public agenda for the issues of community. The artist as experiencer, reporter, analyst, and activist engages with a broader audience in Lacy’s concept of ‘New genre public art’. The artist becomes a conduit for the experience of others, gathers information to make it available to others, and undertakes the consensual production of meaning with the public. The potential audiences are real people in real places in her works. Consequently, the concept of audience is more important to Lacy’s works. The content of the artwork defines its audience grouping. The artwork is a metaphor for relationship with others. In new genre public art, art pieces are filled with the relationship between artist and audience. In fact the real work includes the yearlong organizing and workshops that lead up to it, as well as performance, media events, film and documentation that may follow. It includes education, communication, integration, and feedback for the selected audience. People in her art pieces have the ‘staying power’ that is the most important experience for participants and audience. The community is a kind of ‘memorial community’ throughout history and tradition, not simply the gathering of individuals. They take the responsibility for others in that culture as well as their freedom and rights. Thus, they preserve the relationship of inter-dependence and communal decision-making within their community. This ‘New Community’ in Lacy’s works is the network of superpositional and integral relationship. The artist and audience have changeable spectrum in each circumstance and context, not the fixed position. Lacy’s works find a lasting way to ‘develop a community through art’ under the media and ongoing education programs. This is the aim of new genre public art. Reviewing Lacy’s works, which include collaborations with other artists and more broadly conceived “collaborations” with people in various communities and occupations, is divided two parts; others of woman(The fluid identity) and the member in process of artmaking(engagement of community). This study will offer an opportunity to re-consider alternative method of access for audience.

영어초록

Suzanne Lacy is an internationally known artist whose work includes installations, video, and large-scale performances on social themes and urban issues. Since 1970, her work has addressed a broad range of social and political themes, including violence against women, racism, incarceration, homelessness, poverty, medical care, education, and world peace. Her artworks take the form of installations, social process, writing, photography, and performance, and are often expansive collaborations with large numbers of individuals. Most of her major works are documented by video or television and include media literacy and analysis. In a series of large urban installations on violence against women, she broadened the collaborative process to include police, politicians, hotline activists and reporters, creating together multi-sited works that address social issues. There are connective threads between Lacy’s works and activist art of Lucy R. Lippard. Activist art, called ‘the movement for cultural democracy’, is process-oriented. These considerations have led to a radically different approach to artmaking. Tactics, or strategies of communication and distribution, enter into the creative process, as do activities usually considered separate from it, such as community work, meetings, graphic design, postering. The most impressive contributions to current activist art are those that provide not only new images and new forms of communication, but also delve down and move out into social life itself, through long-term activities such as Lacy’s artworks. Activist art takes years to develop formally effective ways to exchange powers with one’s chosen audience. It must emphasize clarity of meaning and communication. This pattern is completed by the actions of both participants and the audience. They plan and implement the project, including community organizing, leadership training, and public art workshops. Lacy’s contention of artists’ roles is to shape the public agenda for the issues of community. The artist as experiencer, reporter, analyst, and activist engages with a broader audience in Lacy’s concept of ‘New genre public art’. The artist becomes a conduit for the experience of others, gathers information to make it available to others, and undertakes the consensual production of meaning with the public. The potential audiences are real people in real places in her works. Consequently, the concept of audience is more important to Lacy’s works. The content of the artwork defines its audience grouping. The artwork is a metaphor for relationship with others. In new genre public art, art pieces are filled with the relationship between artist and audience. In fact the real work includes the yearlong organizing and workshops that lead up to it, as well as performance, media events, film and documentation that may follow. It includes education, communication, integration, and feedback for the selected audience. People in her art pieces have the ‘staying power’ that is the most important experience for participants and audience. The community is a kind of ‘memorial community’ throughout history and tradition, not simply the gathering of individuals. They take the responsibility for others in that culture as well as their freedom and rights. Thus, they preserve the relationship of inter-dependence and communal decision-making within their community. This ‘New Community’ in Lacy’s works is the network of superpositional and integral relationship. The artist and audience have changeable spectrum in each circumstance and context, not the fixed position. Lacy’s works find a lasting way to ‘develop a community through art’ under the media and ongoing education programs. This is the aim of new genre public art. Reviewing Lacy’s works, which include collaborations with other artists and more broadly conceived “collaborations” with people in various communities and occupations, is divided two parts; others of woman(The fluid identity) and the member in process of artmaking(engagement of community). This study will offer an opportunity to re-consider alternative method of access for audience.

참고자료

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