지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
이용수
초록· 키워드
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In 2005 ZKM’s ambitious show《Making things public: Atmospheres of Democracy》 suggests the current fashion of the publicity over the various subjects. In the ideology of democracy, almost every items needs to be discussed, explained, and approved of people. From that point of view, ordinary(wo)man is to express more and more about self and, consequently, their private realms became part of the public life.
In 1967 Yves Saint Laurent Paris fashion show, the designer made pants suite for women and it reversed the conventional suppression over the decree of working women’s not-to wear-pants. Sooner, the pants became fashionable item all over the Europe; in addition, small boutique surged and street fashion affects to the high fashion world.
In 1960s, punk became visible in the streets of London, and one of their wicked item, miniskirt brought a huge impact. Street fashion became an idol and since then, young look leads the fashion business. Fashion means virtually ‘new thing,’ which naturally undoes/de-constructs convention, tradition, and authority.
1960s fashion concern is reflected in the film, such as Michelangelo Antonioni’s 〈Blowup〉, The protagonist of the movie, Thomas, is a fashion photographer and he represents the zeal towards the glamorous fashion world. One day, he shot photos of couple at the suburban park, and it turned out a murder scene. However, it got sour when the blow-ups and the cadaver were disappeared and no proof what he saw and taken photos could make things clear. The director attempts to explore the reality of fashion as the outer mode of desire. Each person has one’s desire intertwined and intermingled with everyday life.
In 1960’s, a number of young artists moved, out of modernist philosophy, to the realm of examining ‘self.’ Body art and performance artist Vito Acconci carried out unique performances. In 〈Pier Project〉 he told a personal secret to a passer-by, or in 〈Broadjump〉 the participant who jumped further could spent two hours with his girls. In 〈Following Piece〉(1969) the artist just followed somebody until he/she got into private space. In this video/performance work, artist is the shadow of the anoNew Yorkmous people, and (s)he is the one who constitutes the work of art by one’s passages the activities. Acconci is the first to recognize the audience is to be the subject of the art work, instead of the artist. and he eagerly attempted to bring them into his works.
Adrian Piper, in 1970, wore stinky shirts stained by foods and walked in to the subway or bus in a rush hour. She sometimes wore “wet paint” painted shirt, or stuffed her mouth with towel and roamed around the town. In her performance, Piper explored the relation between the private and the public; artist and the audience; artistic activity and public reception. Both Piper and Acconci, seem to foretell the significance of the audience, and notice a shift of the art-making from artist to the ordinary people. New technology and internet communication excels this trend as John Cage asserted, ‘… computer, not makes us attend to the artist, but make us the artist.’ In 1960s, fashion prefigured diverse aspects of future art and art making and it announces the realm of the private far more expanding as a power institute.
In 1967 Yves Saint Laurent Paris fashion show, the designer made pants suite for women and it reversed the conventional suppression over the decree of working women’s not-to wear-pants. Sooner, the pants became fashionable item all over the Europe; in addition, small boutique surged and street fashion affects to the high fashion world.
In 1960s, punk became visible in the streets of London, and one of their wicked item, miniskirt brought a huge impact. Street fashion became an idol and since then, young look leads the fashion business. Fashion means virtually ‘new thing,’ which naturally undoes/de-constructs convention, tradition, and authority.
1960s fashion concern is reflected in the film, such as Michelangelo Antonioni’s 〈Blowup〉, The protagonist of the movie, Thomas, is a fashion photographer and he represents the zeal towards the glamorous fashion world. One day, he shot photos of couple at the suburban park, and it turned out a murder scene. However, it got sour when the blow-ups and the cadaver were disappeared and no proof what he saw and taken photos could make things clear. The director attempts to explore the reality of fashion as the outer mode of desire. Each person has one’s desire intertwined and intermingled with everyday life.
In 1960’s, a number of young artists moved, out of modernist philosophy, to the realm of examining ‘self.’ Body art and performance artist Vito Acconci carried out unique performances. In 〈Pier Project〉 he told a personal secret to a passer-by, or in 〈Broadjump〉 the participant who jumped further could spent two hours with his girls. In 〈Following Piece〉(1969) the artist just followed somebody until he/she got into private space. In this video/performance work, artist is the shadow of the anoNew Yorkmous people, and (s)he is the one who constitutes the work of art by one’s passages the activities. Acconci is the first to recognize the audience is to be the subject of the art work, instead of the artist. and he eagerly attempted to bring them into his works.
Adrian Piper, in 1970, wore stinky shirts stained by foods and walked in to the subway or bus in a rush hour. She sometimes wore “wet paint” painted shirt, or stuffed her mouth with towel and roamed around the town. In her performance, Piper explored the relation between the private and the public; artist and the audience; artistic activity and public reception. Both Piper and Acconci, seem to foretell the significance of the audience, and notice a shift of the art-making from artist to the ordinary people. New technology and internet communication excels this trend as John Cage asserted, ‘… computer, not makes us attend to the artist, but make us the artist.’ In 1960s, fashion prefigured diverse aspects of future art and art making and it announces the realm of the private far more expanding as a power institute.
목차
Ⅰ. 공론화와 패션
Ⅱ. 〈욕망〉이 된 패션
Ⅲ. 관객 대 작가: 새로운 주체의 의미
Ⅳ. 제작자로서의 개인, 권력에의 도전
참고문헌
Abstract
「1960년대 미술과 패션: 〈욕망〉의 표출과 반권위의 전통」에 대한 질의(윤준성)
참고문헌 (0)
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