사진작가 버긴의 초기작업(1967-76년): 그 이론적 근거에 대한 비평

영국의 개념미술 사진작가인 버긴은 1960년대 후반부터 미니멀리즘과 개념미술의 영향을 받아 문자를 기반으로 1971-76년 사이에는‘사진-텍스트’로서 복잡한 사회기호학적 구조를 가진 사진예술을 선보였다. 그 작업에서는 작업의 제작과정과 지시사항을 기록하는 등 사진과 문학을 동시에 표현영역으로 활용해나갔으며, 특히 관람자의 심미적 대상들의 지각이라는 현상학적인 문제를 집중적으로 연구했다. 그것은 자본주의 대중문화의 이미지와 문자가 유통시키는 주류 이데올로기의 제시와 재현에 주목한 결과였다. 그 이후로는 사회주의 리얼리즘에 대한 관심을...

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Published in기초조형학연구 Vol. 17; no. 3; pp. 569 - 581
Main Authors 최병길, 교수, Byung Kil Choi
Format Journal Article
LanguageKorean
Published 한국기초조형학회 30.06.2016
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Online AccessGet full text
ISSN1598-8635
2713-5993

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Abstract 영국의 개념미술 사진작가인 버긴은 1960년대 후반부터 미니멀리즘과 개념미술의 영향을 받아 문자를 기반으로 1971-76년 사이에는‘사진-텍스트’로서 복잡한 사회기호학적 구조를 가진 사진예술을 선보였다. 그 작업에서는 작업의 제작과정과 지시사항을 기록하는 등 사진과 문학을 동시에 표현영역으로 활용해나갔으며, 특히 관람자의 심미적 대상들의 지각이라는 현상학적인 문제를 집중적으로 연구했다. 그것은 자본주의 대중문화의 이미지와 문자가 유통시키는 주류 이데올로기의 제시와 재현에 주목한 결과였다. 그 이후로는 사회주의 리얼리즘에 대한 관심을 갖게 되었으며, 러시아 형식주의의 수용으로 나아갔다. 왜냐하면 그는 그 사조에서 소쉬르의 언어구조를 문화적 재현의 형성과 기능에 연관시켰던 점에 주목하면서 미술작품의 형식과 내용을 공히 고려하는 이론을 전개해나갔기 때문이었다. 그것은‘심리학적 구조로서의 사진예술’의 영역으로 전개되었다. 이러한 버긴의 사진예술 이론은 미술작품의 목적이 콘텍스트나 관람자와는 무관하게 그 자체의 텍스트나 매체를 자율적으로 반영한다는 그린버그의 모더니즘론을 반대한 것이다. 그는 일상의 다양한 이미지들과 텍스트 안에 숨겨진 이데올로기, 즉 정치적, 경제적, 사회적, 문화적 암호와 실천을 재현하는 사진예술을 창작해낸 것이다. 그러한 그의 사진예술 이론은 개념미술과 사진예술의 간극을 좁혔으며, 사진예술을 단순한 재현 수단이 아닌 현대사회의 다양한 이미지들을 표현하는 중요한 매체로도 인식하게 만드는데 크게 기여했다. An English conceptual photographic artist, Victor Burgin(1941- ), established his practice and theory of Conceptualism in opposition with Clement Greenberg(1909-94)’s theory of Modernism. The initial stage of his work as such was formed on the basis of letters that were influenced by Minimalism and Conceptualism which were begun from the era of the 1960s. Practice and theory during that period were‘Photography as socio-semiotic structure’, in which Burgin simultaneously used photography and literature through a writing of the processes and indexes of the work. In this period, he zealously studied the relationship between the artwork and the spectator, influenced by Morris’s Minimalism, that is, the phenomenological problem such as the spectator’s recognition of aesthetic objects, and theorized it in his Situational Aesthetics. He paid attention to the correlation of the artwork with the spectator, in opposition with the concept of autonomy, etc. from Greenbergian Modernism. And, the work between the year of 1971 and 76 showed photography having a complicated socio-semiotic structure as‘photo-text’. It implies attention to presentation and representation of dominant ideology that images and letters of the mass culture circulate. And he suggested in his Photography Practice and Art Theory the methodology to attempt a systematically semiotic approach to criticize the disease of capitalism. Then, through a book such as Thinking Photography, he transferred to the perspective that his photography became a system of social sign so that his theory of photography became part of universal theory on representation. He put stress on the art’s function, and emphasized that any artistic activity can be isolated from the code and work of a society which contains it. He became to pay attention to Social Realism in the debate over Russian avant-garde that took place in winter 1971, which resulted in the acceptance of Russian Formalism. Attending to have connected Saussure’s linguistic structure with forming and function of cultural representation in that art style, he developed a theory considering both the form and the content of an artwork. In conclusion, Burgin’s theory of photography was different from Greenberg’s theory of Modernism that the purpose of artwork autonomously reflects upon its own text or medium regardless of context or spectator. Namely, he various images and ideology hidden within the text of the daily life, namely, he led his work of photography to the direction to represent the political, the economical, the social, the cultural code and practice. And at the same time, by systematizing the theories adequate to that works, he eliminated the distance between modern art and photography, and also he greatly served for transforming photography into an important medium which makes it possible for the expression of various images, not as a means of mere representation.
AbstractList 영국의 개념미술 사진작가인 버긴은 1960년대 후반부터 미니멀리즘과 개념미술의 영향을 받아 문자를 기반으로 1971-76년 사이에는‘사진-텍스트’로서 복잡한 사회기호학적 구조를 가진 사진예술을 선보였다. 그 작업에서는 작업의 제작과정과 지시사항을 기록하는 등 사진과 문학을 동시에 표현영역으로 활용해나갔으며, 특히 관람자의 심미적 대상들의 지각이라는 현상학적인 문제를 집중적으로 연구했다. 그것은 자본주의 대중문화의 이미지와 문자가 유통시키는 주류 이데올로기의 제시와 재현에 주목한 결과였다. 그 이후로는 사회주의 리얼리즘에 대한 관심을 갖게 되었으며, 러시아 형식주의의 수용으로 나아갔다. 왜냐하면 그는 그 사조에서 소쉬르의 언어구조를 문화적 재현의 형성과 기능에 연관시켰던 점에 주목하면서 미술작품의 형식과 내용을 공히 고려하는 이론을 전개해나갔기 때문이었다. 그것은‘심리학적 구조로서의 사진예술’의 영역으로 전개되었다. 이러한 버긴의 사진예술 이론은 미술작품의 목적이 콘텍스트나 관람자와는 무관하게 그 자체의 텍스트나 매체를 자율적으로 반영한다는 그린버그의 모더니즘론을 반대한 것이다. 그는 일상의 다양한 이미지들과 텍스트 안에 숨겨진 이데올로기, 즉 정치적, 경제적, 사회적, 문화적 암호와 실천을 재현하는 사진예술을 창작해낸 것이다. 그러한 그의 사진예술 이론은 개념미술과 사진예술의 간극을 좁혔으며, 사진예술을 단순한 재현 수단이 아닌 현대사회의 다양한 이미지들을 표현하는 중요한 매체로도 인식하게 만드는데 크게 기여했다. An English conceptual photographic artist, Victor Burgin(1941- ), established his practice and theory of Conceptualism in opposition with Clement Greenberg(1909-94)’s theory of Modernism. The initial stage of his work as such was formed on the basis of letters that were influenced by Minimalism and Conceptualism which were begun from the era of the 1960s. Practice and theory during that period were‘Photography as socio-semiotic structure’, in which Burgin simultaneously used photography and literature through a writing of the processes and indexes of the work. In this period, he zealously studied the relationship between the artwork and the spectator, influenced by Morris’s Minimalism, that is, the phenomenological problem such as the spectator’s recognition of aesthetic objects, and theorized it in his Situational Aesthetics. He paid attention to the correlation of the artwork with the spectator, in opposition with the concept of autonomy, etc. from Greenbergian Modernism. And, the work between the year of 1971 and 76 showed photography having a complicated socio-semiotic structure as‘photo-text’. It implies attention to presentation and representation of dominant ideology that images and letters of the mass culture circulate. And he suggested in his Photography Practice and Art Theory the methodology to attempt a systematically semiotic approach to criticize the disease of capitalism. Then, through a book such as Thinking Photography, he transferred to the perspective that his photography became a system of social sign so that his theory of photography became part of universal theory on representation. He put stress on the art’s function, and emphasized that any artistic activity can be isolated from the code and work of a society which contains it. He became to pay attention to Social Realism in the debate over Russian avant-garde that took place in winter 1971, which resulted in the acceptance of Russian Formalism. Attending to have connected Saussure’s linguistic structure with forming and function of cultural representation in that art style, he developed a theory considering both the form and the content of an artwork. In conclusion, Burgin’s theory of photography was different from Greenberg’s theory of Modernism that the purpose of artwork autonomously reflects upon its own text or medium regardless of context or spectator. Namely, he various images and ideology hidden within the text of the daily life, namely, he led his work of photography to the direction to represent the political, the economical, the social, the cultural code and practice. And at the same time, by systematizing the theories adequate to that works, he eliminated the distance between modern art and photography, and also he greatly served for transforming photography into an important medium which makes it possible for the expression of various images, not as a means of mere representation.
영국의 개념미술 사진작가인 버긴은 1960년대 후반부터 미니멀리즘과 개념미술의 영향을 받아 문자를 기반으로 1971-76년 사이에는‘사진-텍스트’로서 복잡한 사회기호학적 구조를 가진 사진예술을 선보였다. 그 작업에서는 작업의 제작과정과 지시사항을 기록하는 등 사진과 문학을 동시에 표현영역으로 활용해나갔으며, 특히 관람자의 심미적 대상들의 지각이라는 현상학적인 문제를 집중적으로 연구했다. 그것은 자본주의 대중문화의 이미지와 문자가 유통시키는 주류 이데올로기의 제시와 재현에 주목한 결과였다. 그 이후로는 사회주의 리얼리즘에 대한 관심을 갖게 되었으며, 러시아 형식주의의 수용으로 나아갔다. 왜냐하면 그는 그 사조에서 소쉬르의 언어구조를 문화적 재현의 형성과 기능에 연관시켰던 점에 주목하면서 미술작품의 형식과 내용을 공히 고려하는 이론을 전개해나갔기 때문이었다. 그것은‘심리학적 구조로서의 사진예술’의 영역으로 전개되었다. 이러한 버긴의 사진예술 이론은 미술작품의 목적이 콘텍스트나 관람자와는 무관하게 그 자체의 텍스트나 매체를 자율적으로 반영한다는 그린버그의 모더니즘론을 반대한 것이다. 그는 일상의 다양한 이미지들과 텍스트 안에 숨겨진 이데올로기, 즉 정치적, 경제적, 사회적, 문화적 암호와 실천을 재현하는 사진예술을 창작해낸 것이다. 그러한 그의 사진예술 이론은 개념미술과 사진예술의 간극을 좁혔으며, 사진예술을 단순한 재현 수단이 아닌 현대사회의 다양한 이미지들을 표현하는 중요한 매체로도 인식하게 만드는데 크게 기여했다. An English conceptual photographic artist, Victor Burgin(1941- ), established his practice and theory of Conceptualism in opposition with Clement Greenberg(1909-94)’s theory of Modernism. The initial stage of his work as such was formed on the basis of letters that were influenced by Minimalism and Conceptualism which were begun from the era of the 1960s. Practice and theory during that period were‘Photography as socio-semiotic structure’, in which Burgin simultaneously used photography and literature through a writing of the processes and indexes of the work. In this period, he zealously studied the relationship between the artwork and the spectator, influenced by Morris’s Minimalism, that is, the phenomenological problem such as the spectator’s recognition of aesthetic objects, and theorized it in his Situational Aesthetics. He paid attention to the correlation of the artwork with the spectator, in opposition with the concept of autonomy, etc. from Greenbergian Modernism. And, the work between the year of 1971 and 76 showed photography having a complicated socio-semiotic structure as‘photo-text’. It implies attention to presentation and representation of dominant ideology that images and letters of the mass culture circulate. And he suggested in his Photography Practice and Art Theory the methodology to attempt a systematically semiotic approach to criticize the disease of capitalism. Then, through a book such as Thinking Photography, he transferred to the perspective that his photography became a system of social sign so that his theory of photography became part of universal theory on representation. He put stress on the art’s function, and emphasized that any artistic activity can be isolated from the code and work of a society which contains it. He became to pay attention to Social Realism in the debate over Russian avant-garde that took place in winter 1971, which resulted in the acceptance of Russian Formalism. Attending to have connected Saussure’s linguistic structure with forming and function of cultural representation in that art style, he developed a theory considering both the form and the content of an artwork. In conclusion, Burgin’s theory of photography was different from Greenberg’s theory of Modernism that the purpose of artwork autonomously reflects upon its own text or medium regardless of context or spectator. Namely, he various images and ideology hidden within the text of the daily life, namely, he led his work of photography to the direction to represent the political, the economical, the social, the cultural code and practice. And at the same time, by systematizing the theories adequate to that works, he eliminated the distance between modern art and photography, and also he greatly served for transforming photography into an important medium which makes it possible for the expression of various images, not as a means of mere representation. KCI Citation Count: 0
Author 최병길
교수
Byung Kil Choi
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Photographic Artist Victor Burgin's Initial Works(1967-76) : Critique of Its Theoretical Ground
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Keywords 사진
Socio-semiotics
Psychology
버긴
Burgin
Conceptualism
그린버그
심리학
모더니즘
Greenberg
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개념미술
사회기호학
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PublicationTitle 기초조형학연구
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Snippet 영국의 개념미술 사진작가인 버긴은 1960년대 후반부터 미니멀리즘과 개념미술의 영향을 받아 문자를 기반으로 1971-76년 사이에는‘사진-텍스트’로서 복잡한 사회기호학적...
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SubjectTerms Burgin
Conceptualism
Greenberg
Modernism
Photography
Psychology
Socio-semiotics
개념미술
그린버그
모더니즘
버긴
사진
사회기호학
심리학
예술일반
Title 사진작가 버긴의 초기작업(1967-76년): 그 이론적 근거에 대한 비평
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Volume 17
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