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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The purpose of this essay is to explore Robert Irwin’s architectural sculpture focused on relationship between works and the site where works are located. Architectural sculpture was characterized by Carl Andre, Rosalind Krauss, and Lucy Lippard. They characterized architectural sculpture as post-modern sculpture in the expanded fields.
Robert Irwin’s architectural sculpture was generated by expansion from space of painting to environment of real world. By questing art without frame and object, his architectural sculpture has been produced. He wanted to dismantle frame of paintings and sculptures He even recognized museum as frame so he moved onto the outside of museum, the real world. Architectural sculpture in the real world should not be framed as well.
Robert Irwin, in Being and Circumstance, has identified four general working categories for sculpture. The titles he has chosen are self-explanatory and emphasize the amount of interaction between site and sculpture: site-dominant, site-adjusted, site-specific, and site-determined. Irwin has defined his work as site-determined sculpture. Site-determined sculpture draws all of its cues(reason for being) from its surroundings. It allows the site itself to generate the appropriate parameters of medium, scale, and contents, and it thereby creates an intrinsic identities within each particular site.
Irwin’s concept based on site-determined has following characteristics. First, after works installing site, they has not changed site. That is, because site would not be altered, natural environment can be preserved when works were located in natural environment. Second, site-determined sculpture can give social meanings and functions to the public. Irwin concerned about functions and features of site and way of public lives. Finally, in site-determined sculpture, object does not distinguish from site. By fusing with environment, object could not be recognized from environment.
Irwin can get rid of object out of site but there is viewer’s perceptions in site. He thought that if viewer could perceive the site, site itself without object could be art. He claimed that art could be created not by artists but by viewer who could see the beauty of the site. In conclusion, Irwin presented object negated from the site by site-determined art. The site absented object became place which viewer perceives.
Robert Irwin’s architectural sculpture was generated by expansion from space of painting to environment of real world. By questing art without frame and object, his architectural sculpture has been produced. He wanted to dismantle frame of paintings and sculptures He even recognized museum as frame so he moved onto the outside of museum, the real world. Architectural sculpture in the real world should not be framed as well.
Robert Irwin, in Being and Circumstance, has identified four general working categories for sculpture. The titles he has chosen are self-explanatory and emphasize the amount of interaction between site and sculpture: site-dominant, site-adjusted, site-specific, and site-determined. Irwin has defined his work as site-determined sculpture. Site-determined sculpture draws all of its cues(reason for being) from its surroundings. It allows the site itself to generate the appropriate parameters of medium, scale, and contents, and it thereby creates an intrinsic identities within each particular site.
Irwin’s concept based on site-determined has following characteristics. First, after works installing site, they has not changed site. That is, because site would not be altered, natural environment can be preserved when works were located in natural environment. Second, site-determined sculpture can give social meanings and functions to the public. Irwin concerned about functions and features of site and way of public lives. Finally, in site-determined sculpture, object does not distinguish from site. By fusing with environment, object could not be recognized from environment.
Irwin can get rid of object out of site but there is viewer’s perceptions in site. He thought that if viewer could perceive the site, site itself without object could be art. He claimed that art could be created not by artists but by viewer who could see the beauty of the site. In conclusion, Irwin presented object negated from the site by site-determined art. The site absented object became place which viewer perceives.
목차
Ⅰ. 머리말
Ⅱ. 조각의 영역 확장
Ⅲ. 장소와의 융합
Ⅳ. 인식의 장소
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (45)
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