리오타르의 숭고 미학과 뉴만 회화 = Lyotard's Aesthetics of the Sublime and Newman's Painting
저자
발행사항
서울 : 中央大學校 大學院, 2002
학위논문사항
학위논문(박사) -- 中央大學校 大學院 , 哲學科 西洋哲學 專攻 , 2002
발행연도
2002
작성언어
한국어
주제어
KDC
112.7 판사항(4)
DDC
02-97727 판사항(21)
발행국(도시)
서울
형태사항
ii, 185, 18p. ; 26 cm.
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DOI식별코드
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The thesis under the subject of Lyotard's Aesthetic of Sublimity and Newman's Painting aims at studying how to understand the concept of sublimity in the first place and searching for how the concept of modern painting is applied.
Lyotard thought that Newman's painting could achieve the aesthetic of sublimity and the core of modern painting could be found.
However, only abstract painting can't be called modern painting. Therefore in this thesis secondly I studied the theory of Greenberg, the noted critics representing modernism, I pointed out the limit of Greenberg who have regarded abstract painting as the core of modern painting. In addition the possibility of pluralism art has been studied under the philosophy of art that Danto had declared the end of art.
The interest of sublimity was revived by Lyotard, the creator of the theory post-modernism. His concept of sublimity, applied to not only an area of aesthetic but also that of others, comes from Kant. Sublimity as contradictory mixed feeling of pleasantness and unpleasantness is the feeling in the one that imagination can not represent the object directly. At this time the object bears the characteristics of formlessness unable to be understood in regular frame.
Lyotard think that the concept of the sublime brought from formless object covers the art spirit of post-modernism. 'The unpresentable' is expressed in modern painting negatively by means of ultimate object as sublimity is generated from inability of imagination represented through infinity of the object.
As painting, here, is not imitation of visible object but expression of 'event' which is not grasped by thought, it becomes something un-presented: painting itself as well as color itself.
Lyotard thought that 'the un-expressed world' implies sublimity in his works: <Now> or <Here> and the like. Accordingly he insisted that painting is dealt with something that can't be regulated: that is, something that the 'event' of ontological dimension is covered.
Therefore, painting is just color itself, namely painting itself.
Newman's painting did not show what the object of sublimity was out of picture: that is, concrete implication was blocked what transcendental object or content of painting was. In this point Lyotard made Newman's painting regard as the core of post-modernism. Newman completed the ideal abstract painting which is not served any clue to help understanding of vision: that is, he tried to express 'the abstract sublime' through his painting.
So as he tried to express a kind of sublime content in his painting, he wanted to not make appreciators have sublimes feeling but express works itself as identity of sublimity. He used strong color on the great canvas because he wanted ' painting itself' to be an object of sublimity. But as he excluded all kinds of implications in his painting, he did not serve any clue to appreciators. Accordingly, vagueness in his painting can be exaggerated. That's the point of the limit of Newman's painting.
The limit of his painting is found indirectly through the problems of Greenberg's modernism in spite of his having advocated him actively. Above all Greenberg regarded 'flatness' as major change that avantgarde had pursued. His originality of painting is found through 'the pristine flatness of the stretched canvas'. So to recover the origin of painting, he insists that 'perspectival space' and 'chiaroscuro' should be given up. For example, to get to 'flatness' cubism itself could be proved in course of reaching abstract though excluding color as well as factual space painting.
In addition to flatness, the second change of avantgarde is realized in emphasis of 'medium'. In each art we could see much efforts to expand expressive means of medium in order to represent the element of experience unturned to other forms.
Greenberg insisted that to emphasize on independence and exclusion of medium we give up painting of modernism in view that painting is painting shortly before the 'arbitrary object.
However, to advocate the core of pure painting he insisted extremely that painting become not only 'blank canvas' but also formalization shortly before 'arbitrary object' whether he wants it or not. After his speech he served the causes of minimalism and Ready-made of Duchamp to people that he does not want. In short the idea that he admitted 'blank canvas' himself to explain arbitrary object negatively showed that Greenberg's formalism came into its own contradiction.
Newman's color-field was supported by Greenberg because of the reason which it is expressed as the essence of the pure spirit of painting, namely that of modernism. But as Greenberg excluded the art out of theoretical lineage through his way of modernism, he himself exposed his theoretical limit. Likewisely this Newman's painting also could not be excluded out of limits of age as historic products. Newman's abstract painting as well as modern art in danger has common characteristics that painting is not revealed itself by image but by language, he insists.
Even though modern artists assumes that in the understanding of surface of painting is not needed any descriptive contexts, they were in their own contradiction in order to help the understanding of works. These problems were revealed by Newman.
He excluded any abstract image so that painting itself might be the sublime object, but he also was in contradiction that he must deny the independent values of painting adding to a lot of critics about works.
Accordingly Greenberg's and Newman's limits made us realize that we must need pluralism regardless of abstract painting or expressionism. In Danto's opinion he concluded that the discussion of the age of art renaissance to modernism is that among likewise objects of Warhole, <Brilobox> one is works of art, the other is simple phenomenon. According to Danto's theory of the end of art, he says the essence of art can't be decided by sensual qualities, and art stopped the history having been proceeded in search of the essence of sensual qualities.
He does not mean that there is no more art after the theory of the end of art. It means that as Greenberg sated through his modernism, we should give up the assertion that his opinions are right and others' ones aren't in stead of admitting them. From since the end of art in 1960s, we can't define works from the viewpoint of any particular visual qualities. Transcendental restrictions in work world of art faded. To say it again, the works of art seems to be an object. By just this fact, I think that the principle of modernist came to an end.
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