커뮤니케이션대학원 졸업논문
David Hockney ; Laszlo Moholy-nagy ; photomontage ; representation ; space-time
본 논문은 라즐로 모홀리-나기(Laszlo, Moholy-nagy 1895~1946)와 데이비드 호크니(David Hockney 1937~)의 작품에서 사진을 통한 '시각의 확장'으로 파생된 형식인 '포토 몽타주'에 나타난 시공간에 관한 비교 연구이다. 현대 미술의 흐름이 급변하는 시기에, 자신들만의 독창적인 작품세계를 꾸준히 변화, 발전시킨 두 작가는 카메라를 통한 시각을 시작으로, 후에 사진적 표현양식을 재구성한 포토몽타주 형식의 작품을 통해 각각의 새로운 시공간, 새로운 리얼리즘을 제시한다. 두 작가는 다다와 팝아트라는 각 시대의 주요 미술 흐름의 양상과 완전히 부합되기 보다는, 사진을 통해 시각을 확장하고 이러한 시각 경험의 진정한 '리얼리즘'을 해명하는 일관된 작품들을 전개해나간다. 본 연구는 사진이라는 동일 미디어에 기반을 둔 두 작가가 시각에 관한 성찰과정을 통해 각각의 시공간 개념으로 발전되는 과정을 분석해보고자 하였다. 또한 사진과 영화에 이르는 시각 문화의 발전 단계에서 회화적 체험과 실천이 기술 매체와 대립되는 것이 아니라는 사실을 그들의 포토몽타주 형식을 통해 확인하고자 한다.\r\n\r\n두 작가의 시각 확장은 일점 소실점의 원근법의 시각체계에 대한 의구심으로부터 출발한다. 그들은 움직임을 동반한 시각의 리얼리즘을 원근법의 시각체계가 보여줄 수 없다고 믿었다. 결국, 진정으로 보는 방식이 무엇인가에 대한 두 작가의 성찰은 모든 작업의 출발임을 의미혀며, 본 여구에서도 그러한 작가 의식을 두 작가의 시공간 개념에 대한 시초로 논하고자 하였다. 사진과 원근법의 시각체계는 많은 연구에서 다루어진 바 있으며, 본 연구에서는 본론에서 그 내용을 간단하게 제시하고 있다. 사진과 원근법의 관계는 두 작가에게는 계승적 구도가 아닌 '새로운 보는 방식'을 제시하는 변증법적 관계로 작용한다. 르네상스 시기부터 재현을 위한 합리적 사고의 반영으로 받아들여졌던 원근법은 19세기 카메라의 발명 이후 관점의 감옥으로 해석되었고 예술가들은 원근법에 대항한 새로운 관점들을 찾아내었다. 모홀리-나기와 호크니도 원근법의 보는 방식으로부터 벗어나 새롭게 인식되는 화면을 제시하고자 하였으며, 이러한 시도는 사진으로부터 출발하였다. 움직임을 반영한 시각을 평면에 담고자 한 모홀리-나기와 호크니는 일점 소실점으로부터 벗어난 유동적인 시공간의 화면을 인식시키는데 그 목적이 있었으며, 이러한 목적은 공통적으로 사진 매체를 통해 제시되고 있다. 본 연구는 사진을 통해 새롭게 보는 방식을 제안하고자 한 두 작가의 작품 전개를 비교하고, 동시에 그러한 전개를 현 미술의 단계까지 연장선상에서 바라보고 계슬될 측면을 고찰해보고자 하였다.
This thesis is a comparative study about space-time presented 'photomontage' that is the formality to 'visual expansion' by the photograpy in Laszio Moholy-nagy(1895-1946) and David Hockney(1937~)'s works. On raphidly changing times of modern art, these two artists who had been constantly changed and developed their own creative art presenting a new space-time, new realism by photomontage arts reconstructed photography's representation style through starting views by camera. These two artists had been extended viewpoint by photograph and processed constant works that explained a real 'realism' of these visual experiences than exantly corresponding to main arts suah as Dada and Popart. This study is supposed to anlaysis a developed process to two artist's own space-time concept based on same media, or photograpy by self-examination for viewpoint. And This thesis should identify facts by their photomontage that exercises and practices of fine art are not opposed to mechanical media a technology in processing steps of visual culture reached to photograpy and cinema.\r\nTwo artists's visual expansion started from quedtions about liner perspective system with one vanishing point. They believed that liner perspective system can't present visual realism taking with movement. In result, reflection about what is the real method to view is every work's starting point, and this study is supposed to comment a suah artist's consciousness as beginning about two artist's space-time concept. Study about photograpy and liner perspective system have been managed in many researched and this thesis refers that contents briefly. Relationship between photograpy and liner perspective activated as dialectic relations to two artists by indicating a 'new method of view', not succession of structure. The liner perspective system had been accepted as reasonable thought for representation since Renaissance analyzed to the prison of vision, artists found new vision against the liner perspective system. Likewise, Moholy-nagy and David Hockney also attempted to propose a scene recognized newly beyond the liner perspective, and this began from photography. Moholy-nagy and David Hockney who attempted to present a vision in motion on Two-dimensional plane had a purpose to recognize flexible scenes of space-time beyond one vanishing point, this purpose has been presented commonly by photographic media. This thesis compared two artist's work processes that attempted a new method of view through photography and considered simultaneously such processes as an extension line to contemporary art steps, examined an aspects of sucession.\r\nMoholy-nagy experimented a new method of view making photography as means. In order side, Hockney did photographic veiw for negation and supplementation a vision of photographic system. Two artist's confronted analysis about a method of photographic view is presented different experimental works. Chapter2 accounts about two artist's methods of deconstruction in viewing on the liner perspective and consider Moholy-nagy's photography presenting a decentralized formative scene and Hockney's fine art works accusing of scenes in the liner perspective.\r\nThe momentum for teo artists to pursue establishment of visual consiousness through photography is narrowed to the sense of values in that times about mechanic media. The times in Moholy-nagy's activities, after 100 years since a discovery of photography, photography had been not reborn as artistic medias. In this period, opinions had been confronted acutely about that a function of photography as reality and reprentative media can be placed to artistic category or not. And simultaneously, attempts to pursue artistic possibility had been continued in succession. Avant-garde artists had been accessed to everyday culture suah as springed from new style of photography in illustated magazine or advertisement in that times. Similarly like this, photography confronted necessity to reborn repeatedly in creative media because camera had been popular and Television functioned to transmit visual informations by development of commerce and technology in 1960. Artists who admired the beauty of repetition and mechanic photographic media, absorbed the popular culture expanded that artistic limits confronted a mechanical photographic media can be artistic aspects by borrowing from Avant-garde artist's expression style. In result, the artistic subject in two times as 'combinations an art and life' became an opportunity to change popular visual culture and renew artistic concept. This common lines in two times brought Moholy-nagy and David Hockney who processed their works by practicing photographic media. They put a matter point how using camera is understood in spirits of modernism and concreted in artistic and cultural context not seen in industrial dimension and structure in axiology. Moholy-nagy is supposed to expand an artistic activities as accepting new media in that times, or photography like other Avant-garde artists in 20 century. The clue of Moholy-nagy's media concept related to pursue on new vision language placed on a study of camera as information delivery media, or an analysis of photography as a practical means acquired knowledge, and a comprehension of photography as basis of visual cognition. In result, he was supposed to present the new vision by 'photograph' media. the space-time that he proposed was understood as concept like 'time in motion', 'simulataneity' and wanted presenting s space-time in motion existed simultaneously and four-dimensionaly expanding infinitely. To present a sapce-time in motion infinitely, he dealed a 'light' as important substance in his works and insisted a necessity of extraordinary visual experience by motoin. His photography are processed separating by photography. photogram, photomontage based on time-space concept.\r\nOn contrary that Moholy-nagy recognized a photography as a technical media for visual expansion, photography in David Hockney's works expressed merging his own vision. At 1980 years in Hockney's activities, the artworks with new medias like video made a mainstream, and the Hockney's fine arts that analyzed as photography style and the photomontage works were not recognized as a main stream in that time. But matters of space and time presented on his works were beyond a limit in modernism's formality used existing photography media. In addition, his photomontage works developed to relative concept in more concrete and definite by separating an object and an observer in cubism's multi-viewpoint. The time-space layers by photography in his painting were presented on scene's surface and attempted to express the depth. Moholy-nagy's photogram condensed a layer of time-space, the other side, Hockney's fine arts overcome a flatness of plane by multi-viewpoint. The Hockney's segamental time-space image that characterized a multi-veiwpoint and foresaw a photomontage formality was supposed to present a motion like Moholy-nagy. But the layers of time-space devided by a difference of speed in motion were presented contrastingwith expression style on Moholy-nagy's photogram. Chapter3 is supposed to observe comparatively teo artist's works which represented differently as though they thought a 'motion' of common answer on time-space concept. And we can verify two artist's aspects developed an attitide of photographic view to the concept of time-space by their works.\r\nThe photomontage is an art formality showing that two artist's scenes are resulted as consequence about concept of time-space and perception style about their time-space confronted. Moholy-nagy is supposed to experience a viewpoint of perception that scene by formative structure on photography and drawing. He attempted to recognize a notional time-space beyond reality through an image in frame. The time-space in Hockney's photomontage that broke away frame and made subjected in changing viewpoints with similar motion of real human eyes structured to supply experience having the most similar with reality by photograpy. He intended to propose an art having a new concept by this photomontage between photograpy and fine art and wake up that experiences about real time-space is an essential perception.\r\nIn result, this thesis defines that from Moholy-nagy and Hockney's works using the photography to their own photomontage proposed a time-space showing 'gap' of images represented. And this thesis analyzed comparatively their works which had been reflected photography media in viewpoint about time-space, ultimately define that the 'motions within objects' and 'photographic aspects' is an origin which two artists perceived a real time-space. Two artists structed commonly the space coexisted a time and space through photomontage beyond the liner perspective system and embodied a time-space that presented constantly a motion in that. The process of their art world for representing a real time-space on a Two-dimensional plane started from an interest about photographic view and an experimental practice. Furthermore, their photomontage presented as changing an existing style to construct their own time-space.\r\nAbove all, this thesis is focused to an attitude of view a time-space represented in Moholy-nagy and Hockney's photomontage. The 4 chapter defines for an observer to confront a presentation images with thought process through Moholy-nagy's photomontage proposed in turn process of perception through 'blank space', a formative composition and Hockney's photomontage combined 'spactium', muti-viewpoint. Their photomontage do not force to devote to reality in time-space represented externally. An observer recognize such a scene as representation through 'blank space','spatium' and do as internal reality that he want to share, and in this process, Hockney's photomontage. Furthermore, this process suggest that Hockney's photomontage have to confronted aspects to present a reality and penetrate into contradicting character, an whole and smooth image as well as bringing a crack of photograph. In addition, this thesis suggest that Moholy-nagy and Hockney's their own photomontage to develop photographic view make an observer to reilluminate the time-space in reality as well as the model in having an attitude of true participant oriented to view in participating in contemporary art.