Minimal Art의 특성 연구

Abstract

Minimal Art, which takes a strictly objective basie form for its mode of expression and eliminates an emotional manifestation appealed to the audiences with various formative languages, has a new visual art form, in which, the whole exhibit space-including audiences as well as a work - rather than a formative problem of a sole work, is treated as a total art, considering the relation between the audience's perceptive action and the environmental condition. The purpose of this thesis is to examine the characteristics of Minimal Art through an analysis of its works. The contents of the thesis are as follows for the examination of the characteristics of Minimal Art. In Chapter Ⅱ, I discussed a general idea of Minimal Art and its historical background in art history as the first step to the examination of its characteristics. In Chapter Ⅲ, 8 analyzed the works of Minimal Art and examine its characteristics closely. In the methods of the study, I consulted to references and works of Minimal Art as basie materials. And for the work collection, I had a purposeful selection to choose 50 works in which the characteristics of Minimal Art can be shown. The results of the study are as follows : Two dominant characteristics can be found in Minimal Art, a 'nature of reduction' First, Minimal Art has a certain tendency of reducing to its basic form. The reductive tendency makes it possible for the audience to have a prompt experience, because formative elements are minimal in the basic form. And Minimal Art also has a tendency of reducing to the original form of the matters. Searching for the nature of a material, it selects an Industrial Objet and is using it without any modification or with a little change of it. Second, with the method of consecutive parallel arrangement, Minimal Art shows an expansion effect in space. But it is not an expansion in the individual matter but an expansion in the whole scale, including work and its environmental space. It also broadens the range of visual experience in the audience, using the light effect to let a whole interior space under the same mood of the light. As a conclusion, these results mean that works of fine arts are reducint to "The Third Dimensional Object" and also is expanding in its scale to the environment.;多樣한 造形言語로 감상자에게 보여주려는 主觀的인 表現性을 排除하고, 嚴格하고 基本的인 形式을 취한 Minimal Art는 관객의 知覺的 行爲와 주위환경과의 관계를 고려하여 作品 形態에서의 問題보다는 作品과 관객을 포함한 展示空間 全體를 하나의美術로서 다루는 새로운 視覺形式을 갖는다. 硏究의 目的은 Minimal Art 作品을 分析하여 그 特性을 糾明하는데 있다. 硏究의 內容은 Minimal Art의 槪念과 美術史的 背景에 대해 살펴보고 作品分析을 통해 그 特性을 찾아내었다. 硏究의 方法은 文獻과 作品을 基本資料로 하였으며 , 作品標集은 Minimal Art의 特性을 찾아볼 수 있는 作品 50점을 目的標出 하였다. 硏究의 結果는 다음과 같다. Minimal Art는 還元性과 擴張性의 두 가지 特性을 가지고 있다. 첫째 , 造形的인 要素를 最小限으로 한 基本的인 形態로의 還元으로 감상자에게 즉각적인 經驗을 可能케 하며 材料使用에서는 다양한 工業오브제를 선택하여 그 재료의 本質을 추구하고 기존의 用度나 先入觀을 떠난 순수한 물체로 돌아가려는 還元性을 지닌다. 둘째, 빛의 使用으로써 室內 全體를 그 빛의 분위기로 만들어 감상자의 視覺經驗을 넓히며, 連續竝列의 配列方法을 使用하여 作品 하나 하나의 物體性 보다는 擴張하는 규모로써 空間의 擴張性을 보여준다. 이것은 美術作品이 三次元的 實在로 還元됨과 동시에 환경으로 擴張되고 있음을 뜻한다.