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Visual studies and art history have been in conflict and struggle since the former’ s birth and the subsequent establishment as an academic discipline. The origin of this dual was therise of cultural studies and the new art history, both the outcome of the so-called death-sentenced traditonal art history. Old art history has been the target of the new methodologies incorporating feminism, semiotics, psychological analysis, French theories, marxism, etc. But recently the new visual studies became popular and univerisities around the world opened the related courses and departments, and scholarship on the field has grown steadily. The background of this phenomenon is the visualized society innundated by thonsands of images both virtual and actual, propagated by the internet and computer technology.
Main theorists of visual study are mostly art historians but there are also many scholars from other fields such as literature, history, cinema studies, science, and philosophy. They believe that traditional art history with the old tools of formalism and artist monographs can not deal with this new visual environment, and there must be the new, interdisciplinary and transdisciplinary efforts to confront and understand the visual world. But there are also many art historians who believe that the visual study is nothing really new, and art history is still the most important and fruitful resourse for the study of the visual image. These debates started with the famous 『October』 questionnaire and continued with the Clark conference and the recent 『journal of visual culture』 debates.
One of the phenomena that goes with the visual study boom is the so-called ‘return of the beauty’ in the early 1990' s in America. The main proponents claim that beauty has been dead for many decades due to the too serious anti-art avantgarde art and that it is the time to recover the beauty from the silence. This rise of the ‘vernacular beauty’ is reflected in the recent Norman Rockwell Retrospective in the major museums and also in Komar and Melamid' s (The Most and Least Wanted Paintings) project produced by the people' s poll.
Some critics including the『October』coteries are worried about the situation and criticise the visual studies because the digital image world may destroy the foundation of the solid art criticism. As a matter of fact, the most important aspects of the new trend is that there is no distinction between art and image and that every image is worth studying. Consequently, art history is confronting the problems of redefining the boundary of art and its study. Pro or con, today' s art historians are meeting the challenge of the changing visual environment and of deciding whether art history becomes just a memory.
Main theorists of visual study are mostly art historians but there are also many scholars from other fields such as literature, history, cinema studies, science, and philosophy. They believe that traditional art history with the old tools of formalism and artist monographs can not deal with this new visual environment, and there must be the new, interdisciplinary and transdisciplinary efforts to confront and understand the visual world. But there are also many art historians who believe that the visual study is nothing really new, and art history is still the most important and fruitful resourse for the study of the visual image. These debates started with the famous 『October』 questionnaire and continued with the Clark conference and the recent 『journal of visual culture』 debates.
One of the phenomena that goes with the visual study boom is the so-called ‘return of the beauty’ in the early 1990' s in America. The main proponents claim that beauty has been dead for many decades due to the too serious anti-art avantgarde art and that it is the time to recover the beauty from the silence. This rise of the ‘vernacular beauty’ is reflected in the recent Norman Rockwell Retrospective in the major museums and also in Komar and Melamid' s (The Most and Least Wanted Paintings) project produced by the people' s poll.
Some critics including the『October』coteries are worried about the situation and criticise the visual studies because the digital image world may destroy the foundation of the solid art criticism. As a matter of fact, the most important aspects of the new trend is that there is no distinction between art and image and that every image is worth studying. Consequently, art history is confronting the problems of redefining the boundary of art and its study. Pro or con, today' s art historians are meeting the challenge of the changing visual environment and of deciding whether art history becomes just a memory.
목차
1. 여는 말
2. 오래된 미술사/새로운 이미지
3. 미의 귀환
4. ‘누가 시각문화를 두려워하랴?’
참고문헌
Abstract
참고문헌 (9)
참고문헌 신청
[학술지(정기간행물)] - / 2002 / Art History Aesthetics Visual Studies
[학술지(정기간행물)] - / 2003.4 / Visual Essentialism and the Object of Visual Culture 2
[학술지(정기간행물)] - / 1998 / Uncontrollable Beauty
[학술지(정기간행물)] - / 2004 / Kalliphobia in Contemporary Art
[학술지(정기간행물)] - / 2001 / From Art History to Visual Culture: The Study of Visual after the Cultural Turn
[학술지(정기간행물)] - / 2003.4 / Visual Essentialism and the Object of Visual Culture 2
[학술지(정기간행물)] - / 1998 / Uncontrollable Beauty
[학술지(정기간행물)] - / 2004 / Kalliphobia in Contemporary Art
[학술지(정기간행물)] - / 2001 / From Art History to Visual Culture: The Study of Visual after the Cultural Turn
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UCI(KEPA) : I410-ECN-0101-2009-609-017290275