장소 특수성은 1920년대 작품의 공간에 대한 인식을 시작으로, 1960년대부터 전통적인 미술과 미술관의 관습을 벗어나면서 등장한다. 미술의 장소에 대한 인식은 작품과 전시 방법을 변화 시키고, 미술관의 제도성을 타파한다. 또한 관람객의 경험을 미술 요소로 도입한 미니멀아트를 중심으로, 관람객에 대한 인식은 작품의 감상 방법을 변화 시킨다. 따라서 장소 특수성 미술은 작품을 포함하고 그것을 둘러싼 총체적인 환경이다. 이처럼 작가, 작품, 전시 공간, 관람객에 대한 관점의 변화로 형성된 장소 특수성은 다양한 전시 방법과 함께 여러 ...
장소 특수성은 1920년대 작품의 공간에 대한 인식을 시작으로, 1960년대부터 전통적인 미술과 미술관의 관습을 벗어나면서 등장한다. 미술의 장소에 대한 인식은 작품과 전시 방법을 변화 시키고, 미술관의 제도성을 타파한다. 또한 관람객의 경험을 미술 요소로 도입한 미니멀아트를 중심으로, 관람객에 대한 인식은 작품의 감상 방법을 변화 시킨다. 따라서 장소 특수성 미술은 작품을 포함하고 그것을 둘러싼 총체적인 환경이다. 이처럼 작가, 작품, 전시 공간, 관람객에 대한 관점의 변화로 형성된 장소 특수성은 다양한 전시 방법과 함께 여러 가지 유형의 미술 형태로 나타난다. 첫 번째 유형은 대지미술에서 제도적 미술관의 제한된 공간이 공간 이상의 의미로 확장되는 장소 특수성이다. 작품과 자연환경이 결합함으로써 등장한 대지미술은 작품의 비영속성 때문에 사진이나 실재 장소의 단편 등을 미술관 안으로 가져오는 전시 방법을 취하게 된다. 이와 같?
장소 특수성은 1920년대 작품의 공간에 대한 인식을 시작으로, 1960년대부터 전통적인 미술과 미술관의 관습을 벗어나면서 등장한다. 미술의 장소에 대한 인식은 작품과 전시 방법을 변화 시키고, 미술관의 제도성을 타파한다. 또한 관람객의 경험을 미술 요소로 도입한 미니멀아트를 중심으로, 관람객에 대한 인식은 작품의 감상 방법을 변화 시킨다. 따라서 장소 특수성 미술은 작품을 포함하고 그것을 둘러싼 총체적인 환경이다. 이처럼 작가, 작품, 전시 공간, 관람객에 대한 관점의 변화로 형성된 장소 특수성은 다양한 전시 방법과 함께 여러 가지 유형의 미술 형태로 나타난다. 첫 번째 유형은 대지미술에서 제도적 미술관의 제한된 공간이 공간 이상의 의미로 확장되는 장소 특수성이다. 작품과 자연환경이 결합함으로써 등장한 대지미술은 작품의 비영속성 때문에 사진이나 실재 장소의 단편 등을 미술관 안으로 가져오는 전시 방법을 취하게 된다. 이와 같?
Site specificity stemmed from the 1920's recognition of the spatial context of an artwork and fully emerged as conventional art forms and ideas started to give way in the 1960's. Recognition of which they are displayed. It also eliminates the institutional limitations of the art gallery. Viewers are...
Site specificity stemmed from the 1920's recognition of the spatial context of an artwork and fully emerged as conventional art forms and ideas started to give way in the 1960's. Recognition of which they are displayed. It also eliminates the institutional limitations of the art gallery. Viewers are no longer passive lookers-on but people who interact with the work. This change in the way viewers are seen have brought about a shift in way artworks are appreciated, most visibly in minimal art, in which the viewer's experience is incorporated as an artistic element. Site-specific art encompasses the artwork and the surrounding environment. Site-specificity developed from the changes in the artist, artwork, display space, and the perceived role of viewers have resulted in diverse methods of display and art forms. The first type of site-specificity is found in land art in which space that had been limited within conventional art galleries takes on a wider meaning than just surrounding space. Works of land art, or earthworks, which emerged as products of integrating artwork and the natural environment, are impermanent by nature. This made it necessary to display earthworks in the form of photos or bring parts of the whole work inside the gallery. Robert Smithson is a prominent artist who exhibited his earthworks in this way. His Non-Sites, disconnected from the original sites and placed inside the art gallery, embody site-specific art that is dialectic and flexible in its relationship with the actual Site. The second type is the site-specificity of works in situ by Daniel Buren. His work demonstrates site-specificity that aims to move out of the realm of art to unlimited reality. Buren works within the existing spatial context whether it is inside or outside the gallery, and the site itself becomes his work. Vertical stripes on the exterior of his works deconstruct the conventional realms of painting and sculpture. Site-specificity of in situ projects takes into account the relationship between neutrality and criticism of conventions in display practice. The site, in Buren's work, becomes a frame in which the work itself is de-constructed, dissolved and merged with its spatial environs. The third type of site-specificity can be seen in public art, which occasions interactivity between the work, the site and the people. Public art embodies diverse paradigms between the place and the artwork, and is often social, cultural and political. Richard Serra's Tilted Arc is a public sculpture that is essentially political. Serra reinterpreted the site by placing his structure aiming to eliminate the characteristics specific to the site. Unfortunately, his work was not received as he had intended, and many considered it unilaterally imposed on them by the artist. As a result, Tilted Arc was removed from its original location. This episode shows that the creation of a public art piece requires in-depth consideration for communication with the public. Despite the influential claim "To remove the work is to destroy the work," greater number of site-specific artworks have been moved from its original locations since the late 1980's. Meanwhile, reconstruction of site-specific works is becoming a popular trend. The increase of rearrangement and/or reconstruction of site-specific artworks raise questions about not only the origin and creativity of the work but also about its commercial value. Site-specific art has now become part of the mainstream art. It is thus necessary to reinterpret the relationship between site and artwork.
Site specificity stemmed from the 1920's recognition of the spatial context of an artwork and fully emerged as conventional art forms and ideas started to give way in the 1960's. Recognition of which they are displayed. It also eliminates the institutional limitations of the art gallery. Viewers are no longer passive lookers-on but people who interact with the work. This change in the way viewers are seen have brought about a shift in way artworks are appreciated, most visibly in minimal art, in which the viewer's experience is incorporated as an artistic element. Site-specific art encompasses the artwork and the surrounding environment. Site-specificity developed from the changes in the artist, artwork, display space, and the perceived role of viewers have resulted in diverse methods of display and art forms. The first type of site-specificity is found in land art in which space that had been limited within conventional art galleries takes on a wider meaning than just surrounding space. Works of land art, or earthworks, which emerged as products of integrating artwork and the natural environment, are impermanent by nature. This made it necessary to display earthworks in the form of photos or bring parts of the whole work inside the gallery. Robert Smithson is a prominent artist who exhibited his earthworks in this way. His Non-Sites, disconnected from the original sites and placed inside the art gallery, embody site-specific art that is dialectic and flexible in its relationship with the actual Site. The second type is the site-specificity of works in situ by Daniel Buren. His work demonstrates site-specificity that aims to move out of the realm of art to unlimited reality. Buren works within the existing spatial context whether it is inside or outside the gallery, and the site itself becomes his work. Vertical stripes on the exterior of his works deconstruct the conventional realms of painting and sculpture. Site-specificity of in situ projects takes into account the relationship between neutrality and criticism of conventions in display practice. The site, in Buren's work, becomes a frame in which the work itself is de-constructed, dissolved and merged with its spatial environs. The third type of site-specificity can be seen in public art, which occasions interactivity between the work, the site and the people. Public art embodies diverse paradigms between the place and the artwork, and is often social, cultural and political. Richard Serra's Tilted Arc is a public sculpture that is essentially political. Serra reinterpreted the site by placing his structure aiming to eliminate the characteristics specific to the site. Unfortunately, his work was not received as he had intended, and many considered it unilaterally imposed on them by the artist. As a result, Tilted Arc was removed from its original location. This episode shows that the creation of a public art piece requires in-depth consideration for communication with the public. Despite the influential claim "To remove the work is to destroy the work," greater number of site-specific artworks have been moved from its original locations since the late 1980's. Meanwhile, reconstruction of site-specific works is becoming a popular trend. The increase of rearrangement and/or reconstruction of site-specific artworks raise questions about not only the origin and creativity of the work but also about its commercial value. Site-specific art has now become part of the mainstream art. It is thus necessary to reinterpret the relationship between site and artwork.
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