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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.
초록· 키워드
오류제보하기
Andrea Fraser is an artist whose practice falls in to the category of institutional critique that asks questions on how art production relates with the world. In 1993, she coorganized a project entitled, <Services: Conditions and Relations of Project Oriented Artistic Practice> in which she posited artists as “service providers”. Service, here is defined in her introduction as “labor which is either in excess of, or independent of, any specific material production and which cannot be transacted as or along with a product.”If art practice can be named as services would it mean to give up the autonomy of art as she connects her practice to labor? In later part of the essay, Fraser declared that she would explore the creativity within “relative autonomy of art”. Does relative autonomy of art mean something different than historical avant-garde’s? Can freedom be partially given up or preserved? This thesis, thus, raises questions on what implies by giving up the autonomy of art and Fraser’s relative autonomy’s application to the contemporary art practice by analyzing institutional critique works by Andrea Fraser.
Autonomy was the key concept in the opposition between Modernists and historical avant-gardists. While the autonomy of art is the constitutive element for aesthetics, art is subjected to material conditions for historical avant-gardists in principle. In the premise that combining both idealism acknowledging priori truth and materialism acknowledging physical world make up the general ideas in Modernist era, concept of her relative autonomy rings alter-modern, post-ideological thoughts and their conditions to which contemporary art is subjected.
Fraser’s relative autonomy of art starts from the premise that art-world, aesthetics’ operating system, is already won by capitalism. Instead of claiming the autonomy of art and art world as a whole, she divides up the art world into several art producers(the subjects in the arts) that compete each other utilizing Bourdieu’s logic. Once she clarifies borders between each producer’s authorship, her artistic expression can be protected by freedom of speech. Then she amplifies its impact through her psychoanalytic performance in which her audience can empathize several roles in the art world that she embodies into herself. This empathetic approach works better especially today when the break up of the labor division occurred in the arts: producer (artist/author) ― mediator (art organization) ― recipients (audience) since relational, project-based participatory art practice blur such division the same as seen in the operation of cognitive capitalism.This allows her practice of relative autonomy viewed from the psychoanalytic perspective that passes through the dichotomy of Modernism.
Autonomy was the key concept in the opposition between Modernists and historical avant-gardists. While the autonomy of art is the constitutive element for aesthetics, art is subjected to material conditions for historical avant-gardists in principle. In the premise that combining both idealism acknowledging priori truth and materialism acknowledging physical world make up the general ideas in Modernist era, concept of her relative autonomy rings alter-modern, post-ideological thoughts and their conditions to which contemporary art is subjected.
Fraser’s relative autonomy of art starts from the premise that art-world, aesthetics’ operating system, is already won by capitalism. Instead of claiming the autonomy of art and art world as a whole, she divides up the art world into several art producers(the subjects in the arts) that compete each other utilizing Bourdieu’s logic. Once she clarifies borders between each producer’s authorship, her artistic expression can be protected by freedom of speech. Then she amplifies its impact through her psychoanalytic performance in which her audience can empathize several roles in the art world that she embodies into herself. This empathetic approach works better especially today when the break up of the labor division occurred in the arts: producer (artist/author) ― mediator (art organization) ― recipients (audience) since relational, project-based participatory art practice blur such division the same as seen in the operation of cognitive capitalism.This allows her practice of relative autonomy viewed from the psychoanalytic perspective that passes through the dichotomy of Modernism.
목차
Ⅰ. 서론 : 현대미술에서 예술의 자율성은 유효한가?
Ⅱ. 예술의 자율성의 기본 개념과 자율성
Ⅲ. 프레이저의 상대적 자율성
Ⅳ. 결론 : 탈역사 시대 예술에서 상대적 자율성이 존재하는 방식
참고문헌
Abstract
참고문헌 (42)
참고문헌 신청
1. [학위논문] - 김윤서 / 2012 / '제도비판'의 의미 확장에 관한 연구 : 마이클 애셔의 제도비판미술 '프로젝트(Project)'를 중심으로 / 석사 / 홍익대학교 대학원
2. [학술지(정기간행물)] - 김정희 / 2008 / 안드레아 프레이저(Andrea Fraser)의 미술 실천에 나타난 '후기여성주의' 미술가의 특징 / 서양사연구 (39) : 101 ~ 152
3. [학술지(정기간행물)] - 심보선 / 2011 / 사회학과 비평사이의 길 내기 / 한국 사회학 45 (2) : 270 ~ 276
4. [단행본] - 심보선 / 2013 / 그을린 예술 / 민음사
5. [학술지(정기간행물)] - 심상용 / 2000 / 미술, 비즈니스, 마술: 미술의 탈신화화와 재신화화 / 현대미술사연구 10 : 57 ~ 76
2. [학술지(정기간행물)] - 김정희 / 2008 / 안드레아 프레이저(Andrea Fraser)의 미술 실천에 나타난 '후기여성주의' 미술가의 특징 / 서양사연구 (39) : 101 ~ 152
3. [학술지(정기간행물)] - 심보선 / 2011 / 사회학과 비평사이의 길 내기 / 한국 사회학 45 (2) : 270 ~ 276
4. [단행본] - 심보선 / 2013 / 그을린 예술 / 민음사
5. [학술지(정기간행물)] - 심상용 / 2000 / 미술, 비즈니스, 마술: 미술의 탈신화화와 재신화화 / 현대미술사연구 10 : 57 ~ 76
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UCI(KEPA) : I410-ECN-0101-2015-600-000977556