KCI등재후보
안드레아 프레이저(Andrea Fraser)의 미술 실천에 나타난 '후기여성주의' 미술가의 특징 = 'Post-feminist' Characteristic in Andrea Fraser's Artistic practices
저자
김정희 (서울대학교)
발행기관
학술지명
권호사항
발행연도
2008
작성언어
Korean
주제어
등재정보
KCI등재후보
자료형태
학술저널
수록면
101-152(52쪽)
KCI 피인용횟수
2
제공처
The American woman artist, Andrea Fraser began her artistic career in the middle of the 1980's with two works which prognosticated her later artistic practices very concretely. She published in June 1985 an article titled "In and Out of Space" in Art in America. and 1984 a small Artist Book with the title Woman 1/Madonna 1506-1967 for an fictional exhibition.
Fraser reviewed in her first published article the feminist and institutional critic artist Louise Lawler and showed her interests in the institutional critic which was practised by the marxist orientated artists as Hans Haacke, Daniel Buren, Michael Asher and Marcel Broothaers since the beginning of the 1970's. Her feminist tendency in this review was visualized with the poststructuralist method, deconstruction in her Artist Book. Two types of woman in the Western phallocentric bourgeois society which were since Renaissance continually represented either as madonna or as femme fatale/prostitute were deconstructed and disclosed as the positive and negative images of the same desire and phantasy of man as doppelgänger.
The poststructuralist methodology characterizes the second generation of the feminism which was developed in the 1980's in which Fraser came into the art field. She was born 1965 and her generation belongs to the 'Third Wave' of feminism of the 1990's. In the artistic practices and theories of the third generation in the feminism, the dualistic distintion between man and woman became opaque. Their mother generation 'accused' them with "sins of cynicism, complacency, and compromise." This antagonism between the 'mother' and 'daughter' in feminism was escalated not only in academy, but also in mass media and the latter became called as the postfeminist. For the third generation of feminism the conditions that capital proposed, took the precedence over the gender problem, therefore it was called as postgender. The postfeminist characteristics can be found by Fraser from the end of the 1980's in which she showed 1989 the institutional critique performance Museum Highlights: A Gallery Talk in the Philadelphia Museum.
Since the 1990's she is not outside of the institution anymore. She wrote 2005 in "From the Critique of Institutions to an Institution of Critique" that 'it's not a question of being against the institution. we are the institution." This recognition of the pre-condition of the art production in the capitalist bourgeois society distinguishes her from the Neo-avantgarde in terms of Peter Bürger. She arrived this recognition through the influences of the French sociologist, Pierre Bourdieu whom she 'encountered' 1984 with his book La Distinction - critique sociale du jugement which was written 1979, but translated in English 1984. She confessed often that she came to self objectifying through his reflective sociology. She argued that the art institution is not outside of an artwork and the former is an unreducible condition for the latter to exist as artwork. She showed 2001 in her performance Official Welcome how and with whom an art practice is produced.
Fraser showed this unresistable condition of art production as institution in many ways and methods. 1994 she called with German artist Helmut Draxler the art practice as 'service provision' because they thought that the project work is possible through the financing sponsorship. 2003 she showed in Exhibition the unescapable condition of art field from the capital through 'prostitution'. She took from a male unknown collector $20,000, made love with him in a hotel room for 60 minutes, made video with the camera on the ceil and gave him an edition of the video tape. In this video-performance her naked body performing literally prostitution is not an art object, but art, therefore art institution. 'Art as prostitution' is associated with the poem of Bertolt Brecht <Hollywood> and the Brechtian movies of Jean-Luc Godard as <Contempt>(1963) and <Tout Va Bien>(1973). In this context her naked b...
The American woman artist, Andrea Fraser began her artistic career in the middle of the 1980's with two works which prognosticated her later artistic practices very concretely. She published in June 1985 an article titled "In and Out of Space" in Art in America. and 1984 a small Artist Book with the title Woman 1/Madonna 1506-1967 for an fictional exhibition.
Fraser reviewed in her first published article the feminist and institutional critic artist Louise Lawler and showed her interests in the institutional critic which was practised by the marxist orientated artists as Hans Haacke, Daniel Buren, Michael Asher and Marcel Broothaers since the beginning of the 1970's. Her feminist tendency in this review was visualized with the poststructuralist method, deconstruction in her Artist Book. Two types of woman in the Western phallocentric bourgeois society which were since Renaissance continually represented either as madonna or as femme fatale/prostitute were deconstructed and disclosed as the positive and negative images of the same desire and phantasy of man as doppelgänger.
The poststructuralist methodology characterizes the second generation of the feminism which was developed in the 1980's in which Fraser came into the art field. She was born 1965 and her generation belongs to the 'Third Wave' of feminism of the 1990's. In the artistic practices and theories of the third generation in the feminism, the dualistic distintion between man and woman became opaque. Their mother generation 'accused' them with "sins of cynicism, complacency, and compromise." This antagonism between the 'mother' and 'daughter' in feminism was escalated not only in academy, but also in mass media and the latter became called as the postfeminist. For the third generation of feminism the conditions that capital proposed, took the precedence over the gender problem, therefore it was called as postgender. The postfeminist characteristics can be found by Fraser from the end of the 1980's in which she showed 1989 the institutional critique performance Museum Highlights: A Gallery Talk in the Philadelphia Museum.
Since the 1990's she is not outside of the institution anymore. She wrote 2005 in "From the Critique of Institutions to an Institution of Critique" that 'it's not a question of being against the institution. we are the institution." This recognition of the pre-condition of the art production in the capitalist bourgeois society distinguishes her from the Neo-avantgarde in terms of Peter Bürger. She arrived this recognition through the influences of the French sociologist, Pierre Bourdieu whom she 'encountered' 1984 with his book La Distinction - critique sociale du jugement which was written 1979, but translated in English 1984. She confessed often that she came to self objectifying through his reflective sociology. She argued that the art institution is not outside of an artwork and the former is an unreducible condition for the latter to exist as artwork. She showed 2001 in her performance Official Welcome how and with whom an art practice is produced.
Fraser showed this unresistable condition of art production as institution in many ways and methods. 1994 she called with German artist Helmut Draxler the art practice as 'service provision' because they thought that the project work is possible through the financing sponsorship. 2003 she showed in Exhibition the unescapable condition of art field from the capital through 'prostitution'. She took from a male unknown collector $20,000, made love with him in a hotel room for 60 minutes, made video with the camera on the ceil and gave him an edition of the video tape. In this video-performance her naked body performing literally prostitution is not an art object, but art, therefore art institution. 'Art as prostitution' is associated with the poem of Bertolt Brecht <Hollywood> and the Brechtian movies of Jean-Luc Godard as <Contempt>(1963) and <Tout Va Bien>(1973). In this context her naked body ...
분석정보
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2028 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2022-01-01 | 평가 | 등재학술지 유지 (재인증) | KCI등재 |
2019-01-01 | 평가 | 등재학술지 선정 (계속평가) | KCI등재 |
2018-12-01 | 평가 | 등재후보로 하락 (계속평가) | KCI후보 |
2015-01-01 | 평가 | 등재학술지 선정 (계속평가) | KCI등재 |
2013-01-01 | 평가 | 등재후보학술지 유지 (기타) | KCI후보 |
2012-01-01 | 평가 | 등재후보학술지 유지 (기타) | KCI후보 |
2011-01-01 | 평가 | 등재후보 1차 FAIL (등재후보2차) | KCI후보 |
2010-01-01 | 평가 | 등재후보 1차 PASS (등재후보1차) | KCI후보 |
2008-01-01 | 평가 | 등재후보학술지 선정 (신규평가) | KCI후보 |
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.2 | 0.2 | 0.23 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.19 | 0.2 | 0.681 | 0.18 |
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