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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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Vito Acconci's work begins from literature. Until 1968, he mostly worked in a context of writing or in poetry. Acconci was interested in the space of the book page, a structure within which the reader and the writer could act together.
In his first visual artworks, he tries to communicate with the readers by combining photographs with texts to document task-oriented activities.
Acconci's work mentioned lots of dialogues between camera and body, especially in the series of super-8 films and videos. And this would become an essential aspect of his subsequent art work.
Between 1969 and 1974, he started to perform himself the over 200 conceptually structured and radical body-related pieces he have written and developed in the past. His work was extremely simple in formal terms, but psychologically highly intricate. These performances are presented to the spectators as a recorded video, which made Acconci's work considered as visual art. In the fact that it involves the artist's direct participation on the scene, these works are certainly categorized as performance art, but it is also considered as early works of video art for its use of media.
In the beginning of the 1970s, along with conceptual art, performances and installations aroused a lot of controversy. These represented an act of resistance to the traditional forms of artand at the same time, an act of revolt against the art market for its need of new forms and which were facing the threshold of modernism. However, so as to be accepted as art works, performances had to comprehend the acknowledged motivations of modernism. In other words, these works refer a lot to the characteristics of visual art, but within the base of autonomy. As performance rejects materialistic mediums, this brings us to the problem of durability. In the case of conceptual art, the use of signs allows its durable communication but performance needs a way of recording as an action naturally disappears in the moment it is acted.
So in this paper, we are going to deal with the problems of autonomy in Acconci's art work and analyze the act of revolt it intends to express.
Reaction and acts of revolt, as the base of performance art, are expressed in the form of destructive actions, but this is accepted as an extension of the art field. And this exhibition of revolt within the performance art pulls apart the acts and the thoughts, which minimizes the form of language and communication.
In his first visual artworks, he tries to communicate with the readers by combining photographs with texts to document task-oriented activities.
Acconci's work mentioned lots of dialogues between camera and body, especially in the series of super-8 films and videos. And this would become an essential aspect of his subsequent art work.
Between 1969 and 1974, he started to perform himself the over 200 conceptually structured and radical body-related pieces he have written and developed in the past. His work was extremely simple in formal terms, but psychologically highly intricate. These performances are presented to the spectators as a recorded video, which made Acconci's work considered as visual art. In the fact that it involves the artist's direct participation on the scene, these works are certainly categorized as performance art, but it is also considered as early works of video art for its use of media.
In the beginning of the 1970s, along with conceptual art, performances and installations aroused a lot of controversy. These represented an act of resistance to the traditional forms of artand at the same time, an act of revolt against the art market for its need of new forms and which were facing the threshold of modernism. However, so as to be accepted as art works, performances had to comprehend the acknowledged motivations of modernism. In other words, these works refer a lot to the characteristics of visual art, but within the base of autonomy. As performance rejects materialistic mediums, this brings us to the problem of durability. In the case of conceptual art, the use of signs allows its durable communication but performance needs a way of recording as an action naturally disappears in the moment it is acted.
So in this paper, we are going to deal with the problems of autonomy in Acconci's art work and analyze the act of revolt it intends to express.
Reaction and acts of revolt, as the base of performance art, are expressed in the form of destructive actions, but this is accepted as an extension of the art field. And this exhibition of revolt within the performance art pulls apart the acts and the thoughts, which minimizes the form of language and communication.
목차
Ⅰ. 언어와 육체
Ⅱ. 문학에서 행위로
Ⅲ. 개념미술로서 퍼포먼스
Ⅳ. 모더니즘미술과 퍼포먼스
Ⅴ. 결론 : 행위, 기록, 프레임, 관람객
참고문헌
Abstract
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