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초록· 키워드
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The primary form of art was total art. From the Renaissance period each individual art has been gradually seperated and specialized. Gotthold Lessing is thought to be the first one who in 1766 explicitly defined plastic art as spatial one and distinguished it from temporary arts. The typical example which extremely stressed the autonomy of plastic art is Modernist criticism in the 20th century. But on the other hand, in 20th century art we can also find the phenomenon that plastic art merges with temporary arts, especially with performance art. In the 50s and 60s this phenomenon became prominent, and Kinetic Art is the exemplary one.
By the factor of movement or sound, Kinetic Art appears to be a kind of an actor. Light and sound that Kinetic Art adopts create stage effects. And the spectator of Kinetic Art is a passive or active participant who perceives or causes the movement of art work. These aspects make Kinetic Art exsist not as a static ‘object’ but as a kind of a theatrical ‘situation’. Paintings or sculptures which adopt the properties of performance art have been criticized chiefly by Modernist critics. Clement Greenberg insisted that each art must maintain the effects peculiar and exclusive to itself. And Michael Fried criticized the intervention of ‘theatricality’ in the realm of plastic art.
On the other side we can also find the different views which accept the merging of plastic art and performance art. Rosalind Krauss regarded ‘theatricality’ as the factor which makes possible the expanded definition of plastic art. Etienne Souriau accepted ‘nostalgia for others’ in each art as evident fact and he took Kinetic Art as a typical example.
The tendency that all the arts approach to each other appears to be one of the main aspects of modem art. And in fact, Kinetic Art which merges with performance art is regarded rarely as non-art, rather as a new form of art. So it seems to be valid that adoption of the characteristics of performance art in plastic art should be accepted as expansion of the concept of art work.
By the factor of movement or sound, Kinetic Art appears to be a kind of an actor. Light and sound that Kinetic Art adopts create stage effects. And the spectator of Kinetic Art is a passive or active participant who perceives or causes the movement of art work. These aspects make Kinetic Art exsist not as a static ‘object’ but as a kind of a theatrical ‘situation’. Paintings or sculptures which adopt the properties of performance art have been criticized chiefly by Modernist critics. Clement Greenberg insisted that each art must maintain the effects peculiar and exclusive to itself. And Michael Fried criticized the intervention of ‘theatricality’ in the realm of plastic art.
On the other side we can also find the different views which accept the merging of plastic art and performance art. Rosalind Krauss regarded ‘theatricality’ as the factor which makes possible the expanded definition of plastic art. Etienne Souriau accepted ‘nostalgia for others’ in each art as evident fact and he took Kinetic Art as a typical example.
The tendency that all the arts approach to each other appears to be one of the main aspects of modem art. And in fact, Kinetic Art which merges with performance art is regarded rarely as non-art, rather as a new form of art. So it seems to be valid that adoption of the characteristics of performance art in plastic art should be accepted as expansion of the concept of art work.
목차
Ⅰ. 서론
Ⅱ. 20세기 미술과 공연예술
Ⅲ. 움직이는 조각에 나타난 미술과 공연예술의 결합
Ⅳ. 결론
Abstract
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UCI(KEPA) : I410-ECN-0101-2009-609-017288819