본문 바로가기 주메뉴 바로가기
22대 대한민국 국회 국회정보길라잡이 국회의원검색
회원가입 로그인
HOME

정보검색

소장정보 검색

국회도서관 홈으로 정보검색 소장정보 검색
결과 내 검색 동의어 포함
결과 내 검색 동의어 포함

-

목차보기

목차

'포스트미니멀리스트' 아니쉬 카푸어Anish Kapoor의 신체를 닮은 형이상학적 작업 : 숭고와 언캐니 사이 / 전영백 1

I. 들어가는 글 1

II. 카푸어의 전반적 작업과 그 시의성 4

III. 카푸어 작업의 역설: 물질과 비물질의 양극성 8

1. 색채로 만든 조각: 색채의 이중성 8

2. 신체를 닮은 설치작업: 몸의 구조·몸의 의미 15

3. 공허오브제의 숭고와 언캐니 18

IV. 나오는 글 26

참고문헌 30

Abstract 33

초록보기

In the numerous readings of Anish Kapoor's artwork since the mid 1990s, there has been an consistent intellectual curiosity over the paradoxical coexistence of spirituality and corporality. For the former, the artist's cultural background of Eastern origin has been much taken into account. More importantly, from the Western metaphysical conception, it is the philosophical notion of sublime that has been at the core of theoretical references. On the other hand, regarding of the corporeal nature of his work, the postminimal aesthetic is grounded for its material and multilateral sensations. For this connection, the psychoanalytic concept of the uncanny is provided for the work's most crucial referential point.

These very different-almost opposite-two natures of Kapoor's artwork have been constituted together from his early period. In other words, it is this paradox of 'material immateriality' or 'immaterial materiality' that makes his work constantly intriguing for the critical mind. Nonetheless, the preference of most critics for immaterial references supersedes the physical and sexual associations that is evoked by his work. The fact that these less cerebral aspects of the work often remains understated while they constitute significant parts of the work. This paper thus purports to pay more attention to and thus enlighten this rather repressed nature of Kapoor's work. It is because this primary physical and psychological sensation is more relevant to what is regarded as the postminimal experience in contemporary art. This can be said the main theme of this paper.

‘Postminimalism’ according to Robert Pincus-witten, “actively rejects the high formalist cult of impersonality”. He coined this term in 1977, shedding light on it in his book Postminimalism, saying that “more recent artistic emphasis in almost directly opposed to the formalist values of the mid-sixties.” Assimilated to emerging social aesthetic imperatives, what Pincus-witten thought as 'postminimal' is referred to those art activities stressing the artistic persona and psyche, stripped bare as it were. However, I find Irving Sandler’s explanation among several most useful for comprehending Kapoor's work when he analyses Morris's work. Stressing differences from making minimal sculpture, he said that “Morris made a work more physical, the process of the work's ‘making itself’ had to be emphasized.” Whereas minimalist works reflects a geometric abstract style and its rigorous external geometry is based on certain forms and fixed structures, postminimal art is self-generating against any predestined forms or objects, aiming to the non-fixed state of the formless.

When we think of Kapoor's work in relation to postminimal quality as such, the significance of its corporality and materiality is highlighted in relation to the uncanny. It is in this respect that his work is more relevant to the present time, contemporary aesthetics. Interestingly, the subtle relation between the uncanny and the sublime has been recognised since the eighteenth-century. It is well known that the uncanny has taken on crucial psychological connotations with the help of Sigmund Freud. He mentioned ‘intra-uterine existence’ in his elaboration of the uncanny that is developed in the Matrixial theory of Bracha Lichtenberg Ettinger as I delineated in the paper. However, it is not much recognised that the uncanny was associated with the obscure side or the nocturnal face of the sublime by Edmunde Burke. What is suggested by this is that the sublime and the uncanny are internally related against the binary opposition of the spiritual and the physical, that is the way Kapoor's work is seen.

Whereas the sublime is referred to a quality of vast open spaces, the uncanny is more frequently associated with cramped and dark interiors, whose prototypes are the haunted house, the cellar, the coffin and the womb. These two notions are thus closely related to the subject's perception of spaces but in slightly different ways. Anthony Vidler puts this rather effectively, saying that “the vertigo of the sublime” is placed side by side with “the claustrophobia of the uncanny”. As these two are not to be separated at the empirical domain of the subject's perception, what we see in Kapoor's work as the cerebral in the western metaphysical tradition and the visceral in the stream of postminimalism cannot be parted in any designated ways. In such paradoxical aesthetics, this paper purports to shed light on the latter that is rather repressed but more suggestive to the current issues of the contemporary art discourse.

권호기사

권호기사 목록 테이블로 기사명, 저자명, 페이지, 원문, 기사목차 순으로 되어있습니다.
기사명 저자명 페이지 원문 목차
독일 바이마르 시기 미술에 나타나는 성적 살해Lustmord 주제에 대한 연구 이윤희 pp.7-40

보기
'제도비판'의 의미 확장에 관한 연구 : 마이클 애셔Michael Asher의 미술 '프로젝트'를 중심으로 김윤서 pp.41-70

보기
여성 미술에 나타난 애브젝트abject의 '육체적 징후'somatic symptom와 예술적 승화 : 줄리아 크리스테바Julia Kristeva의 이론을 중심으로 이문정 pp.71-102

보기
Giorgio de Chirico = 조르조 데 키리코 : 경쟁과 차이 : rivalry and difference Anthony White ; 이민수 역 pp.103-136

보기
Whose side are we on? = 우리는 누구의 편인가? : 멕시코 아방가르드 예술의 경쟁 : artistic rivalries in Mexican avant-garde art Tatiana Flores ; 김정현 역 pp.137-174

보기
Landscapes of nationalist empowerment = 민족주의자의 의도가 개입된 풍경화 : '중국'의 전통적인 비 오는 풍경을 일본으로부터 재도용한 푸바오스 : Fu Baoshi's re-appropriation of the "Chinese" rainscape tradition from Japan Aida Yuen Wong ; 김정현 역 pp.175-219

보기
When unable to compete = 불가능한 경쟁 : 글로벌 미술세계 속의 일본 여성 미술가 : surviving daughter in the world of global art Nakajima Izumi ; 신현진 역 pp.221-250

보기
단색조 회화운동 속의 경쟁구도 : 박서보와 이우환 윤난지 pp.251-284

보기
≪인천여성미술비엔날레≫를 둘러싼 논쟁 김현주 pp.285-317

보기
'포스트미니멀리스트' 아니쉬 카푸어Anish Kapoor의 신체를 닮은 형이상학적 작업 : 숭고와 언캐니 사이 전영백 pp.319-352

보기

참고문헌 (55건) : 자료제공( 네이버학술정보 )

참고문헌 목록에 대한 테이블로 번호, 참고문헌, 국회도서관 소장유무로 구성되어 있습니다.
번호 참고문헌 국회도서관 소장유무
1 린다 야브론스키, 「아니쉬 카푸어에게 푹 빠지다: 그 본질에 대한 하나의 통찰」, 『Anish Kapoor』(exh. cat,), 국제갤러리, 2008. 미소장
2 에드먼드 버크,『 숭고와 미의 근원을 찾아서』, (김혜련 옮김), 한길사, 2010. 미소장
3 칸트의 미학이론에 있어서 숭고의 개념 소장
4 임마뉴엘 칸트,『 판단력 비판』, (이석윤 옮김), 박영사, 2009. 미소장
5 할 포스터, 『욕망, 죽음, 그리고 아름다움: 포스트모던 시각으로 본 초현실주의와 프로이트』, (전영백과 현대미술연구회 옮김), 아트북스, 2005. 미소장
6 Anfam, David. “To Fathom the Abyss”, in David Anfam et al., Anish Kapoor , London and New York: Phaidon, 2009. 미소장
7 Baudinet, Raya. “Anish Kapoor”, tranlated by L-S Torgoff, Art Press, no. 308(2005). 미소장
8 Baume, Nicholas (ed.). Anish Kapoor: Past, Present, Future (exh. cat.), Cambridge, MA: MIT Press, 2008. 미소장
9 Bhaba, Homi K.. Anish Kapoor , Paris: Flammarion et Cie, 2011. 미소장
10 Bickers, Patricia and Andrew Wilson(eds.). Talking Art: Interviews with Artists Since 1976 , London: Ridinghouse, 2007. 미소장
11 Bracewell, Michael. “Material Means: An ‘Introduction to the art of Anish Kapoor’”, Michael Bracewell and Andrew Renton, Anish Kapoor: Flashback (exh. cat.), London: Hayward Publishing, 2011. 미소장
12 Burke, Edmund. A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful , Oxford University Press, 1990. 미소장
13 Burton, Johanna. “Namely, What is Called Love”, in David Anfam et al., Anish Kapoor , London and New York: Phaidon, 2009. 미소장
14 Castro, Jan Garden. “Anish Kapoor ate the Guggenheim, The Dimensions of Memory”, Sculpture , vol. 29, no. 1(2010). 미소장
15 Castro, Jan Garden. “New York: Anish Kapoor: Rockefeller Plaza”, Sculpture , vol. 26, no. 2 (2007). 미소장
16 Causey, Andrew. Sculpture Since 1945 , Oxford and New York: Oxford University Press, 1998. 미소장
17 Celant, Germano. Anish Kapoor , Milan: Edizioni Charta, 1996. 미소장
18 Cole, Ina. “Anish Kapoor: Transcending the Object”, Sculpture , vol. 29, no. 1(2010). 미소장
19 Cole, Ina. “Modern Sublime: A Conversation with Anish Kapoor”, Sculpture , vol. 26, no. 5(2007). 미소장
20 Crone, Rainer and Alaxandra Von Stosch. Anish Kapoor , Munich: Prestel, 2008. 미소장
21 Eliot, Charles W.(ed.). Edmund Burke , New York: P. F. Collier & Son Corportaiton, 1976. 미소장
22 Ettinger, Bracha Lichtenberg. The Matrixial Gaze, Leeds: University of Leeds, 1995. 미소장
23 Freud, Sigmund. “The Uncanny”(1919), The Standard Edition of the Complete Psychological Works of Sigmund Freud, VII ., trans. James Strachy in collab. with Anna Freud, London: The Horgarth Press, 1953. 미소장
24 Fried, Michael. “Art and Objecthood” in Gregory Battcock(ed.), Minimal Art: A Critical Anthology , Berkeley and Los Angeles: University of California Press, 1995. 미소장
25 Gaché, Sherry. “Interview with Anish Kapoor”, Sculpture , vol. 15(February 1996). 미소장
26 Gaskell, Ivan. “Anish Kapoor”, ArtUS no.24/25(2008). 미소장
27 Gayford, Martin. “Martin Gayford with Anish Kappor: A Sculpture full of Emptiness, Looking In”, Modern Painters , Vol. 13, No. 1(1988), pp. 98-100. 미소장
28 Glanz, Alexandra. “Anish Kapoor: Tate Modern”, Sculpture, vol. 22, no. 9(2003). 미소장
29 Grande, John K.. Balance, Art and Nature , Montreal: Black Rose Books, 2004. 미소장
30 Grande, John K.. “Anish Kappor: Presence and Absence”, Balance: Art and Nature , Montréal, New York and London: Black Rose Books. 미소장
31 Hayden, Malin Hedlin. “Out of Minimailism: The Referential Cube. Contextualising Sculptures by Antony Gormely, Anish Kapoor and Rachel Whiteread”, Sweden: Uppsala University, Ph. D. Dissertation, 2003. 미소장
32 Jones, Caroline A.. “Anish Kapoor: Institue of Contemporary Art, Boston”, Artforum, vol. 47, no. 2(2008). 미소장
33 Kapoor, Anish. “Interview with Anish Kapoor. Kula Peyton-Jones and Hans Ulrich Obrist”, Anish Kapoor: Turning the World Upside Down(exb. cat.), Koeing books, 2001. 미소장
34 Kristeva, Julia. Powers of Horror: An Essay on Abjection , trans. Leon S. Roudiez, New York: Columbia University Press, 1982. 미소장
35 Leydier, Richard. “Anish Kapoor, Waiting for Leviathan”, Art Press , vol. 378(2011). 미소장
36 Lindbergh, Peter(ed.). Anish Kapoor Monumenta 2011 (exh. cat.), Centre nationades arts plastiques, 2011. 미소장
37 Longinus, Cassius. “On the Sublime”, in G. P. Goold(ed.), Classical Literary Criticism , London: William Heinemann Ltd., 1975. 미소장
38 Luke, Ben. “Upside Down: Anish Kapoor at Monumenta”, Art Newspaper , vol. 20, no. 224 (2011). 미소장
39 Lyotard, Jean-Francois. “The Sublime and the Avant-Garde”, Artforum International , vol. 22, no. 8(April 1984). 미소장
40 New York 네이버 미소장
41 Mercurio, Gianni and Demetrio Paparoni. “The Turning Point of Sculpture”, in Clare Chapman(ed), Dirty Corner , Milano: Skira, 2011. 미소장
42 Milliard, Coline. “Anish Kapoor: Royal Academy of Arts”, Art Press, no. 362(2009). 미소장
43 Pincus-Witten, Robert. Postminimalism , New York, Norristown and Milano: Out of London Press, 1977. 미소장
44 Poddar, Sandhini(ed.). Anish Kapoor: Memory (exh. cat.), New York and Berlin: Deutsche Guggenheim, 2009. 미소장
45 Renton, Andrew. “Anish Kapoor in Conversation with Andrew Renton”, in Michael Bracewell and Andrew Renton, Anish Kapoor: Flashback (exh. cat.), London and Berlin: Hayward Publishing, 2011. 미소장
46 Rosenthal, Norman C.. “Svayambh”, in Anish Kapoor et al., Anish Kapoor , Royal Academy of Arts, 2009. 미소장
47 Sandler, Irving. Art of the Postmodern Era: From the Late 1960s to the Earty 1990s , Bouler: Westvie Press, 1998. 미소장
48 Schneider, Eckhard(ed.). Anish Kapoor: My Red Homeland (exh. cat.), Koln: Kunsthaus Bregenz, 2003. 미소장
49 Singh, Raghubir. River of Colour: The India of Raghubir Singh , London and New York: Phaidon, 2000. 미소장
50 Tansini, Laura. “Anish Kapoor: Lisson Gallery”, Sculpture , vol. 20, no. 2(2001). 미소장
51 Temin, Christine. “Anish Kapoor: Institure of Contemporary Ar”, Sculpture , vol. 28, no. 1(2009). 미소장
52 Art in America 1997 Guide To Galleries, Museums, Artists 네이버 미소장
53 Vidler, Anthony. The Architectural Uncanny: Essays in the Modern Unhomely , Cambridge, MA: MIT Press, 1992. 미소장
54 Vidler, Anthony. “Reflections on Whiteout: Anish Kapoor at Barbara Gladstone”, Anthony Vidler and Anish Kapoor, Anish Kapoor: Whiteout (exh. cat.), Milan: Edizioni Charta, 2004. 미소장
55 Winkel, Camiel Van. “On the Sublime in the Work of Anish Kapoor”, in Anish Kapoor et al., Anish Kapoor , Royal Academy of Arts, 2009. 미소장

추천서가 (다양한 추천 자료를 만나보세요)

권호기사보기

권호기사 목록 테이블로 기사명, 저자명, 페이지, 원문, 기사목차 순으로 되어있습니다.
기사명 저자명 페이지 원문 기사목차