초미학과 현대미술
While everything is artistic today and art becomes generalized, the criteria to determine if it’s art or not becomes unclear. In contemporary art, even the most mundane and the most obscene are discussed aesthetically and the distinction between aesthetic and non-aesthetic is disappearing. In the artistic theory of Baudrillard, a phenomenon where the boundary between aesthetic and non-aesthetic collapses today so that the judgement of aesthetic value is blurred and aesthetic value is in trouble, has been called ‘transaesthetics’. Somehow, it seems that the category of aesthetic loses its specificity and re-absorb itself in other categories. Thus, as Baudrillard said, "When everything becomes an aesthetic, nothing is more beautiful or ugly and art itself disappears.” This paradoxical state represents the sign of postmodern movement at the level of art. At the same time, it tries to deny itself due to excess and expansion beyond its limits. In particular, from the viewpoint of Baudrillard, postmodernity is the age of hyperrealism in which reality itself disappears, and postmodern art reveals the transaesthetic phenomenon of simulations, as postmodern society liberated from reality produces more real than reality. In the simulacra era where there is no distinction between the original and the reproduction, the arts are all but nothing, as conflicts such as beauty and ugly, real and fake, art and everyday life, etc. disappear. The Baudrillard's apocalyptic ritual for contemporary art is based on the pessimism on today's such flood of aesthetic and the art of excess.
The purpose of this study is to consider the transaesthetics which occurs in in a situation where everything is aesthetic today as an important concept to understand the trend of contemporary art and discuss how contemporary art realizes transaesthetization and the issue of the status and value of contemporary art through this transaesthetics.
When it comes to the main analysis of this paper, while contemporary art in the late 20th century is reviewed as an issue, object art where deals with sings of transaesthetics in the developing process from modern art to postmodern art is mainly discussed. Especially, signs of transaesthetics in contemporary art could be found in Duchamp's Ready Made which is called the full-scale starting signal of object art. While Duchamp's ready made is deeply involved in the artistic development of the 1960s, especially, it has an important meaning as a source of minimalism, pop art, and conceptual art. In that sense, the connection between Duchamp's ready-made which provides an important turning point in postmodern and contemporary art in the late 20th century is reviewed.
Although transaesthetic phenomenon is considered to be a general feature of contemporary art, this study reviews transaesthetic aspects through the pop art and minimalism of the 1960s and the neo-geo and neo-pop art of the 1980s. Through this, it can be understood on how contemporary art is involved in culture and life and exists by analyzing how transaesthetic phenomena appears and changes in contemporary art. The works that a series of artists from pop art, minimalism and neo-geo and neo-pop art are simulacrum of capitalist consumer society and at the same time, they can be cases of disproving the fact that they become transaesthetic as their arts become commonplace and worthless.
From a transaesthetic point of view, contemporary art is no longer able to explain art by its beauty or artistic expression. The value of art has become ambiguous and unclear because of the liberation of aesthetic concepts. Tracing contemporary art back and forth through transaesthetics will be a meaningful work where the crisis of contemporary art is discussed in a painful question, ‘what is art?’ as well as the present situation of contemporary art can be discussed.
분석정보
서지정보 내보내기(Export)
닫기소장기관 정보
닫기권호소장정보
닫기오류접수
닫기오류 접수 확인
닫기음성서비스 신청
닫기음성서비스 신청 확인
닫기이용약관
닫기학술연구정보서비스 이용약관 (2017년 1월 1일 ~ 현재 적용)
학술연구정보서비스(이하 RISS)는 정보주체의 자유와 권리 보호를 위해 「개인정보 보호법」 및 관계 법령이 정한 바를 준수하여, 적법하게 개인정보를 처리하고 안전하게 관리하고 있습니다. 이에 「개인정보 보호법」 제30조에 따라 정보주체에게 개인정보 처리에 관한 절차 및 기준을 안내하고, 이와 관련한 고충을 신속하고 원활하게 처리할 수 있도록 하기 위하여 다음과 같이 개인정보 처리방침을 수립·공개합니다.
주요 개인정보 처리 표시(라벨링)
목 차
3년
또는 회원탈퇴시까지5년
(「전자상거래 등에서의 소비자보호에 관한3년
(「전자상거래 등에서의 소비자보호에 관한2년
이상(개인정보보호위원회 : 개인정보의 안전성 확보조치 기준)개인정보파일의 명칭 | 운영근거 / 처리목적 | 개인정보파일에 기록되는 개인정보의 항목 | 보유기간 | |
---|---|---|---|---|
학술연구정보서비스 이용자 가입정보 파일 | 한국교육학술정보원법 | 필수 | ID, 비밀번호, 성명, 생년월일, 신분(직업구분), 이메일, 소속분야, 웹진메일 수신동의 여부 | 3년 또는 탈퇴시 |
선택 | 소속기관명, 소속도서관명, 학과/부서명, 학번/직원번호, 휴대전화, 주소 |
구분 | 담당자 | 연락처 |
---|---|---|
KERIS 개인정보 보호책임자 | 정보보호본부 김태우 | - 이메일 : lsy@keris.or.kr - 전화번호 : 053-714-0439 - 팩스번호 : 053-714-0195 |
KERIS 개인정보 보호담당자 | 개인정보보호부 이상엽 | |
RISS 개인정보 보호책임자 | 대학학술본부 장금연 | - 이메일 : giltizen@keris.or.kr - 전화번호 : 053-714-0149 - 팩스번호 : 053-714-0194 |
RISS 개인정보 보호담당자 | 학술진흥부 길원진 |
자동로그아웃 안내
닫기인증오류 안내
닫기귀하께서는 휴면계정 전환 후 1년동안 회원정보 수집 및 이용에 대한
재동의를 하지 않으신 관계로 개인정보가 삭제되었습니다.
(참조 : RISS 이용약관 및 개인정보처리방침)
신규회원으로 가입하여 이용 부탁 드리며, 추가 문의는 고객센터로 연락 바랍니다.
- 기존 아이디 재사용 불가
휴면계정 안내
RISS는 [표준개인정보 보호지침]에 따라 2년을 주기로 개인정보 수집·이용에 관하여 (재)동의를 받고 있으며, (재)동의를 하지 않을 경우, 휴면계정으로 전환됩니다.
(※ 휴면계정은 원문이용 및 복사/대출 서비스를 이용할 수 없습니다.)
휴면계정으로 전환된 후 1년간 회원정보 수집·이용에 대한 재동의를 하지 않을 경우, RISS에서 자동탈퇴 및 개인정보가 삭제처리 됩니다.
고객센터 1599-3122
ARS번호+1번(회원가입 및 정보수정)