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Richard Serra 作品의 Installation 硏究

Title
Richard Serra 作品의 Installation 硏究
Other Titles
(A) STUDY ON THE INSTALLATION EXPRESSED IN THE SCULPTURES OF RICHARD SERRA
Authors
金芝希.
Issue Date
1991
Department/Major
대학원 조소과
Keywords
Richard SerraInstallation조각
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
藝術과 삶의 간격을 좁히고자 시도했던 Dada 以後 藝術作品 表現에 있어서 國際的 現狀은 總體的 性格의 藝術形態가 要求되었다. 이러한 時代的 狀況에서 많은 作家와 彫刻(非設置作品)에 對한 硏究는있었으나 Installation 에 對한 硏究는 미약하였다. 그러므로 Installation에 對하여 全般的으로 살펴보고, 그 中에서 特히 環境과 觀客의 參與를 적극적으로 유도하는 Richard Serra(1939년~) 作品의 Installation에나타난 造形的 特性을 硏究하는데 意義를 두겠다. 本 硏究의 目的은 R. Serra 作品의 Installation을 연구하여 特性을 규명하는데 目的이 있다. 本 硏究의 內容은 R. Serra 作品의 Installation에 나타난 造形的 特性을 규명하기 위해 Ⅱ章에서 戰後 20世紀 美國 現代美術, Installation의 展開, R. Serra와 Installation의 관계를 理論的 背景으로 고찰하며 Ⅲ章에서 R. Serra 作品에 나타난 Installation의 造形的 特性을 時間性, 空間性, 場所性, 材料의 物理的 性格, 設置方法으로 나누어 分析하였다. 本 硏究의 方法은 문헌을 基本中心으로 하였으며 문헌자료를 통해 理論的 背景을 硏究하였다. 硏究의 目的과 內容에 따른 方法으로 참고문헌, 카다로그, 미술잡지 等의 先行硏究와 R. Serra와 관련된 作家의 作品, R. Serra의 作品을 目的標集하여 分析하였다. 本 硏究의 結果는 다음과 같다. 첫째, R. Serra 作品에 있어서의 時間性은 作品의 完結된 時間이 아니라 作品의 計劃에서 完成 그리고 해체에 이르기 까지의 時間性이다. R. Serra는 創作過程에 관람자를 동참시키므로 對象과 時間에 관하여 그의 經驗과 관객의 경험을 상충하도록 유도한다. 둘째, 世界에 對한 個人의 유기적 관계가 어떤 질서를 가지게 될 때 그 질서란 반드시 他者와 함께 이루어지게 된다. R. Serra의 Installation에 對한 空間性의 해석은 이러한 知覺의 公共性을 基本槪念으로 한다. 그러므로 作品은 관객과의 상호관계 속에서 意味를 갖게 된다. 셋째, R. Serra 作品의 Installation은 언제나 作品과 環境 그리고 나(Self)라는 삼위일체의 意味로서 存在하고, 관람자로 하여금 자신의 作品에 時間的으로나 空間的으로 意味가 있는 特定한 場所에 부합되는 作品을 制作한다. 넷째, 材料와 環境 그리고 人間의 상호관계 속에서 그 作品의 材料에 나타나는 조건들인 重力, 무게, 부피, 安定感 等의 物理的 特性에 對한 經驗的 硏究를 통하여 그는 독자적 Installation양식을 追求한다. 다섯째. R. Serra作品의 設置方法은 室內空間과 室外空間으로 구분되는데 前者는 천정과 벽과 바닥의 상호관계 속에서 設置되고 後者는 公共場所의 性格을 띠고 있으며 그 場所의 社會的, 政治的 環境을 고려하여 設置되어진다. 이러한 結果로써 얻어진 結論은 다음과 같다. R. Serra 作品의 Installation 特性은 創作過程에 관객을 동참시킴으로써 時間的으로나 空間的으로 상호관계를 維持하며 制作되어진다. 그것은 作品과 環境 그리고 관객이 삼위일체가 되어 空間을 再創造하며 世界와 함께 共存하는 것이다.;Since Dadaism, the International trend of fine arts has demanded a form of total art in its expression. In these circumstances, though there has been many studies on sculptors and non-utilitarian sculptures, the study on the installation of sculptures has been meagre. A general explanation concerning the installation of sculptures and the plastic characteristics expressed in the sculptures of R. Serra should be examined and analyzed. The purpose of this study is to analyze the characteristics of the installation of R. Serra's works through the study of his sculptures. The content of the thesis will be as follows : for a clear understanding of formative characteristics expressed in the installation of the works of R. Seera, chapter Ⅱ analyzes how modern art emerged in America before and after world war Ⅱ, the development of installation, and the relationship between R. Serra and the installation of his sculptures. chapter Ⅲ analyzes the plastic characteristics of R. Serra's sculptures in terms of time, space, place, physical characters of used materials, and the method of installation. This study is mainly bassd on the analysis of the reference books in relation with R. Serra's sculptures, which provides the theoretical background of this thesis. In accordance with the purpose and content of this study, it is a prerequisite to analyze reference books, catalogs, fine-art periodicals and etc, and also, what is more important here is a critical analysis of some selected sculptures of R. Serra and the works of other artists in line with R. Serra. The results of this study could be summarized into five main aspects. First, in the sculptures of R. Serra, the character of time is not a fixed length which terminates with the finishing of the works, but the whole procedure from the very beginning of planning to the making and de-installation of the works. R. Serra has tried to make the audience participate in his creative procedure of making sculptures, so that it makes posseble the interaction between R. Serra and the audience with regards to experiences on the object and time. second, when an order is being formed by an organic relation of an individual with the world, this order is necessarily to be formed in its relation with other individuals. The interpretation of the spatial character of R. Serra's installation is, thus, based on public perception. Therefore, the sculptures have its meanings in terms of its interrelations with the audience. Third, the installation of R. Serra's sculptures has its meaning in the context of the "three unities", the works, its environments and the self, R. Serra creates an sort of works which, in terms of time and space, makes the audience interact with the works installed in a certain area. Fourth, with the interrelations between materials, environments and humanbeings, R. Serra pursues his own methodological approach of installation through the behavioral experience of the characteristics of the conditions such as gravity, weight, volume and stability which characterize materials used for his sculptures. Fifth, the installation of the sculptures of R. Serra is divided into two categories, i.e., the interiors and exteriors. In the case of interior installation, the works are installed according to the relations between the ceiling and walls. Whereas in the case of the latter, the installation method has public characters implying social, political environments of the area. In conclusion, the characteristics of the sculptures of R. Serra is that, as he makes the audience participate in his creative procedure of making sculptures, the sculptures are to be made, while keeping its relations with the audience. Sculptures, environments and the audience as a trinity recreates the space and coexist with the world.
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