이성과 행위를 통한 표현성 연구

Abstract

Granting that a modern fine arts would be supposedly the one to resume itself tracing back to an original question to "What is art?", this, unlike the fine arts prior to the 20th century which was attempted to describe an object as it should be, would endow the fine arts itself with its significance. The dismantlement of objects initiated from Cubism has been undergone by way of Suprematism, Compositionism, Neoplastism, Expressionism and Surrealism, etc., and simultaneously with Informel period in France the abstract expressionism in America endeavoring to surmount the destiny of fine arts were divided into two parts, namely, the system of Action Painting with laying an emphasis largely on an action and a materiality and the system of Color Field Painting that was effectively used for geometrical form and color on the basis of reason. Following the procession, with receiving the birth of new 'isms', the expressional form and its attitudes were sporadically appeared as having been mutually intersected, mixed or seperated, through Pop art, Op art, Kinetic art, Conceptual art, Support/Surface and Minimal art, etc., and have been unfolded to a reductional artistic propensity with attaching importance on a form and a medium through excluding the significance or its theme. These artistic propensities have been led to a phemomenon alienating a human being by refusing the will of a painter to be taken part in his or her works, and it would be required to have an expressional action and a conceptual form due to its reaction. It is thus regarded that emphasizing on the materiality through an action on the surface would share with the meaning because of being monotonously conscious of the limit resulted in a plane. Also, with utilizing a rational principle in attempting to emboss a genuine idea on a painting, a series of endeavors were made to simplify the forms, to restrict the colors as well as combining the action with the reason in this particular regard. As for the surface of contents, succeeding to the paintings in esthetic absolutism of Kasimir Malevich (1878-1935) who pursued the purity of art and the sublime idea of color-surface abstraction, an examination was made on the phenomenological principle of minimal art, the essence of conceptual fine arts, together with the materiality of the surface. With regard to a methodological aspect, the repetition of action was discovered in Robert Ryman (1930- ) who made the planeness of pictorial surface to closely adhere to Jackson Pollock (1912-1956) with a certain method at a time. Regarding the simple form by reason, a further observation was conducted on Kasimir Malevich and Mark Rothko (1903-1970) as well as Josef Albers (1888-1976) etc., and as for the color, mainly the white color was also examined. In the process of transforming the production of works to a thesis in written form there became a motive to be able to deepen the pure abstraction for which this individual intends to pursue, and therefore it may be desired to become the better pivotal role in contributing itself to the production of works henceforth together with introspection through the analysis of the relevant works.;「藝術이란 무엇인가」라는 근원적인 물음으로부터 다시 시작하려는 것이 현대미술이라고 한다면, 이는 대상을 그대로 묘사시키려고 했던 20세기 이전의 美術과는 달리, 미술자체에 그 의미를 부여하게 된다. Cubism에서부터 시작된 대상의 해체는 Suprematism, Compositionism, Neo-Plastism, Expressionism, Surrealism 등을 거치게 되고, 50년대 불란서의 Informel과 때를 같이하여 미술의 운명을 극복하려는 美國의 추상표현주의는 크게 行爲와 物質性을 강조한 Action fainting계열과 理性을 기저로 기하학적 형태와 색채를 효과적으로 사용한 Color Field Painting계열로 양분되어 진다. 그 후 새로운 ism들의 탄생을 맞으면서, 표현형식과 그 태도들은 서로 교차·복합 또는 분리되어 산발적으로 나타나게 되는데, POP art, OP art, Kinetic art, Concepture art, Support/Surface, Minimal art등을 거처 의미나 주제를 제거하고 형식과 매체를 중시한 축소주의적 예술성향으로 전개된다. 이러한 예술성향들은 작품에 작가의 의지를 참여시키기 거부함으로써 인간소외현상을 초래하게 되었고, 그 반작용으로 표현적 행위와 구상적 형식을 필요로 하게 된다. 이는 본인이 평면에서 오는 단조로움에 한계를 느껴 표면에 행위를 통한 물질성을 강조시킨 것과 그 의미를 같이 한다고 보겠다. 또한 그 위에 그림에서의 순수이념을 부각시키려는 이성적 원리를 이용하여 형태를 단순화시키고, 색을 제한함으로써 행위와 이성을 결합시키려고 하였다. 內容的인 面으로는 예술의 순수성을 추구한 Kasimir Malevich ( 1878∼1935 )의 絶對主義 繪畵와 색면추상의 崇高理念에 이어 70년대 개념미술의 정수인 Minimal Art의 現象學的 原理를 표면의 물질성과 함께 살펴 보았다. 또한 方法的인 面으로는 행위의 반복을 Jackson Pollock(1912∼1956)과 화면의 평면성을 일회적인 방법으로 밀착시킨 Robert Ryman ( 1930 ∼ )에게서 찾아 보았으며, 理性에 의한 단순형태에 관해선 Kasimir Malevich 와 Mark Rothko ( 1903∼ 1970 ), Josef Albers ( 1888∼1976 )등을, 그리고 色에 있어선 주로 흰색에 관하여 살펴 보았다. 作品 製作을 論文으로 집필하는 과정에 있어서 본인이 추구하고자 하는 순수추상을 심화시킬 수 있는 계기가 되었으며, 작품분석을 통한 반성과 함께 앞으로의 작품제작에 보다 나은 기틀이 되었으면 한다.