프랭크 스텔라의 회화 연구 - 미니멀리즘을 중심으로

Abstract

This treatise trace a few genealogies of art and theory since 1960, but it does so to approach actuality: what produces a present as different, and how does a present focus a past in turn. Advanced art in the 1960s was caught between two opposed imperatives: on the one hand to achieve an autonomy of art as demanded by the dominant logic of late modernism: on the other hand to break up this autonomous art across an expanded field of culture that was largely textual in nature - textual in that language became important (as in much conceptual art) and that a decently of subject and object alike became paramount Since the 1960s the two have shared at least three areas of investigation: the structure of the sign, the constitution of the subject, and the siting of the institution (e.g., not only the roles of the museum and the academy but also the locations of art and theory). but it focuses on specific relation, such as the rapport between the minimalist genealogical of art and the phenomenological concern with the body on the one hand and the structuralist analysis of the sign on the other , or the affinity between the pop genealogy of art and the phenomenology and structural linguistics account of visuality developed by around the same time. notches the rectangle, then supplements it with other support shapes that tend, however, to remain fundamental, such as the cross, the triangle, and the star: here, then, he is still concerned to ground the structure of painting in the stability of simple signs. That he does so, however, under the pressure of the historical instability of the sign is suggested by subsequent work in which the shapes become more complex, indeed eccentric. By the middle 1970s Stella all but givers his work over to this instability. Indeed, he exacerbates it: first he quotes specific modernist styles (like cubism and constructivism), and then he simulates entire codes of historical painting, to the point in the early 1980s where fragments of the modernist grid, linear perspective, and the three grounds of landscape painting might collide in one construction. In this progression from simple forms to fragmentary signify Stella almost illustrates the dissolution of the sign associated with the abstractive dynamic of capital- a demonstration that is less reflexive than symptomatic, less transformative than decorative.