KCI등재
브루스 나우만의 은폐된 ‘몸’: 관람자와의 거리 두기 = Bruce Nauman's Hidden Body: Keeping a Distance from the Viewer
저자
김의연 (안양대학교)
발행기관
학술지명
권호사항
발행연도
2009
작성언어
Korean
주제어
등재정보
KCI등재
자료형태
학술저널
발행기관 URL
수록면
285-324(40쪽)
KCI 피인용횟수
0
DOI식별코드
제공처
This study found that one of the key themes of Bruce Nauman(1941-)'s broad range of artworks was best expressed in the ones that used the human body as an art medium and suggested that his early works using the human body(1966-1974) in particular set a direction of his entire art world. In his body works, Nauman used the 'hiding' strategy that exposed the body and hid it at the same time. As he was conscious of the viewer when he used his own body for his artwork, he wanted to hide it in his unique ways. He also wanted to hide the body of the viewer, which became the performer, from the eyes of the other viewers. By doing so, he created a distance between the body of the artist or the viewer, and the viewer who watches that body. With this in mind, this study categorized the bodies used in Nauman’s works into the artist’s own body and the viewer’s body, and analyzed how the body’s subject in each case is hidden from the eyes of the viewer. In parallel, the study examined Nauman’s roles as the subject that takes charge of his artwork.
When Nauman used his own body in his artwork, he made it anonymous and fragmented by hiding his identity. Furthermore, he used word play for the effect of confusion on the meaning of his work. He hid his body from the eyes of the viewer through art make-up, which served as another way to hide. He made the body entirely disappear or left only the trace or sound of it. As a result, the viewer feels confused and gets to keep a distance from Nauman's work rather than getting immersed in it. The distance like this also existed in his other works where the viewers participated as the performers.
In the case of hiding the viewer’s body, Nauman does not make the viewer physiologically engaged in his work, but make them feel confused by distorting the viewer’s body or not showing it even, in the mirror or video monitor installed in his work. In addition, he makes the viewer get inside the installed structure to hide him/her from the eyes of the other viewers and isolate him/her in that space for extreme perceptive confusion. Nauman’s intention in keeping this physiological or physical distance via hiding was to disorient the viewer.
The viewer gets to experience from subtle confusion of perception when faced with Nauman’s work to extreme synesthesiatic confusion in the dystopian environment he created. Nauman’s dystopian space can be interpreted as the symbol of the absurd reality and the repressed and controlled society of the time. As Nauman supported artists’ engagement with reality, he made the viewers vividly feel the repression of the time by making them feel repressed rather than letting them feel their free will. Nauman not only hid the body but also controlled the viewer like the Panopticon by hiding behind his work. In other words, he silently manipulated the viewer through the closely-knitted network of supervision and control.
As such, Nauman recognized the existence of the viewer and created artworks that were not completed by themselves but could be completed via engagement of the viewer. Nauman’s peer artists who also used their body in their artwork were growing out of subjectivity of modernism and showed increasingly stronger interest in intersubjectivity, which is created from relationships with the viewer, who is also the object. Nauman himself recognized his body as the subject of his artwork as well as the objectified subject that is the object which the viewer sees, and demonstrated a kind of relationship where the boundary between the subject and object becomes blurry. However, the relationship between the subject and object in Nauman’s work is different from the clear patterns of intersubjectivity. The subject and object of his works can be replaced with each other only through the eyes of each other. Therefore, the level of intersubjectivity that influences both is weak. This is attributable to the fact that Nauman emphasized his own will o...
This study found that one of the key themes of Bruce Nauman(1941-)'s broad range of artworks was best expressed in the ones that used the human body as an art medium and suggested that his early works using the human body(1966-1974) in particular set a direction of his entire art world. In his body works, Nauman used the 'hiding' strategy that exposed the body and hid it at the same time. As he was conscious of the viewer when he used his own body for his artwork, he wanted to hide it in his unique ways. He also wanted to hide the body of the viewer, which became the performer, from the eyes of the other viewers. By doing so, he created a distance between the body of the artist or the viewer, and the viewer who watches that body. With this in mind, this study categorized the bodies used in Nauman’s works into the artist’s own body and the viewer’s body, and analyzed how the body’s subject in each case is hidden from the eyes of the viewer. In parallel, the study examined Nauman’s roles as the subject that takes charge of his artwork.
When Nauman used his own body in his artwork, he made it anonymous and fragmented by hiding his identity. Furthermore, he used word play for the effect of confusion on the meaning of his work. He hid his body from the eyes of the viewer through art make-up, which served as another way to hide. He made the body entirely disappear or left only the trace or sound of it. As a result, the viewer feels confused and gets to keep a distance from Nauman's work rather than getting immersed in it. The distance like this also existed in his other works where the viewers participated as the performers.
In the case of hiding the viewer’s body, Nauman does not make the viewer physiologically engaged in his work, but make them feel confused by distorting the viewer’s body or not showing it even, in the mirror or video monitor installed in his work. In addition, he makes the viewer get inside the installed structure to hide him/her from the eyes of the other viewers and isolate him/her in that space for extreme perceptive confusion. Nauman’s intention in keeping this physiological or physical distance via hiding was to disorient the viewer.
The viewer gets to experience from subtle confusion of perception when faced with Nauman’s work to extreme synesthesiatic confusion in the dystopian environment he created. Nauman’s dystopian space can be interpreted as the symbol of the absurd reality and the repressed and controlled society of the time. As Nauman supported artists’ engagement with reality, he made the viewers vividly feel the repression of the time by making them feel repressed rather than letting them feel their free will. Nauman not only hid the body but also controlled the viewer like the Panopticon by hiding behind his work. In other words, he silently manipulated the viewer through the closely-knitted network of supervision and control.
As such, Nauman recognized the existence of the viewer and created artworks that were not completed by themselves but could be completed via engagement of the viewer. Nauman’s peer artists who also used their body in their artwork were growing out of subjectivity of modernism and showed increasingly stronger interest in intersubjectivity, which is created from relationships with the viewer, who is also the object. Nauman himself recognized his body as the subject of his artwork as well as the objectified subject that is the object which the viewer sees, and demonstrated a kind of relationship where the boundary between the subject and object becomes blurry. However, the relationship between the subject and object in Nauman’s work is different from the clear patterns of intersubjectivity. The subject and object of his works can be replaced with each other only through the eyes of each other. Therefore, the level of intersubjectivity that influences both is weak. This is attributable to the fact that Nauman emphasized his own will over ...
분석정보
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2027 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2021-01-01 | 평가 | 등재학술지 유지 (재인증) | KCI등재 |
2018-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2015-12-30 | 학술지명변경 | 외국어명 : The Misulsahakbo(Reviews on the Art History) -> Korean Bulletin of Art History | KCI등재 |
2015-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2011-01-01 | 평가 | 등재 1차 FAIL (등재유지) | KCI등재 |
2009-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2006-01-01 | 평가 | 등재학술지 선정 (등재후보2차) | KCI등재 |
2005-01-01 | 평가 | 등재후보 1차 PASS (등재후보1차) | KCI후보 |
2003-07-01 | 평가 | 등재후보학술지 선정 (신규평가) | KCI후보 |
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.35 | 0.35 | 0.41 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.43 | 0.42 | 1.045 | 0 |
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