미국 역사 속의 이미지와 문화 ; 20세기 후반 미국 미술의 후원과 대기업들: 한스 하케(Hans Haacke)의 작품을 중심으로 = Images and Culture in American History ; Hans Haacke: American Art and Corporations in the Late 20th Century

다국어 초록 (Multilingual Abstract)

Hans Haacke, questioning the autonomy of aesthetic value from other exchange valuations, has revealed the alignment that occurs between the art institution and the corporate or political system in the US and Europe. Haacke`s work positions corporate involvement as a new form of patronizing culture in late-capitalist society. In this article, my point is to articulate-through his works and writings since the 1970s in combinatin with a case study of the corporate support for art-how this new involvement has been of great influence in the creation of aesthetic value in the United States. Haacke criticizes the various aspects of corporate involvement in the arts in works such as On Social Grease (1975). This work bears quotations from several figures, all of whom were deeply associated with the formation of BCA (Business Committee for the Arts) in 1967. Among them, the most important contributing figure who marked this new shift in patronizing the arts was the chairman of the Chase Manhattan Bank, David Rockefeller, who advocated a new philosophy of direct corporate participation in the aesthetic and social aspirations of American society. In addition, he wanted to incorporate art works within the bank`s buildings. From then on, with the example of Chase before them, the growth and changing sensibilities of business collections came to be forever changed. Also, as an ardent supporter of the reconstruction of the lower Manhattan represented by the World Trade Center, David Rockefeller led the investment in the public art works which were immediately followed by other examples in New York as well as similar projects in other cities. The corporate support of arts since the 1960s has shown quite different attitudes and purposes from the approaches favored by the first and second generations of art patrons in the US. The term sponsor seems more effectively to imply that the corporate uses of the cultural form are a sort of advertisement in late capitalism, rather than a form of true philanthropy implied in the term Maecenas. The significant form, through which we can trace more obvious relationships between the corporate world and the museum, as well as the public (as audience), is the blockbuster. Haacke satirizes this relationship in his work through 1980 and up to the present. Helmsboro Country (1990) and Cowboy with Cigarette (1990) disclose the ultimate aim of the corporation`s sponsorship for the museum blockbuster. This is a company policy of disavowal of commercial interest and profits, and an attempt to portray themselves as acting in an anti-economic or visibly disinterested manner. This is a necessary corporate preoccupation because business practices and policies often breed growing public dissatisfaction through their callous policies regarding various forms of cigarette addiction, pollution, corruption of the political process, tax evasion, etc. Furthermore, as a multi-national corporation, this kind of sophisticated cultural sponsorship can be adapted to the task of masking the use of the third world as a market or as a locus of cheap labor. In MetroMobilitan (1985), which is itself a parody of the blockbuster of Nigerian art in the Metropolitan museum, Haacke suggests that these corporate forces have an economic stake in perpetuating an image of black Africa`s primitivism. This is an image of uncivilized Africa that the corporations use to excuse their exploitative role in the name of philanthropy, humanism, and civilization.