동시대 예술사진에서 나타나는 포스트모던 패러디의 표현 연구
A Study on the Expression of Postmodern Parody in Contemporary Art Photography
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초록
포스트모던 패러디는 포스트모더니즘 예술에서 중요한 표현 수단 중 하나로, 기존의 예술 작품을 모방, 재해석, 전복함으로써 그 안에 숨겨진 권력 구조나 이데올로기를 드러낸다. 동시대의 예술사진은 다양한 형식과 내용을 담고 있으며 그중에 포스트모더니즘과 포스트모던 패러디 특징을 가진 사진작품도 있다. 이런 작품들은 차용이나 패러디의 방식을 통해 사진의 진실을 의심하고 현실은 구축된 것이라고 주장하며 사회적 현실을 비판하는 데 중점을 둔다. 그러나 동시대 예술사진 분야에서는 포스트 모던 패러디의 유형학적 표현에 관한 연구가 부족하다. 따라서, 본 연구의 목적은 동시대 예술사진에서 나타나는 포스트모던 패러디의 표현 방식과 작품의 서사 응용 특성을 탐구하고자 한다. 이 연구 문제를 논의하기 위해, 먼저 린다 허천의 패러디 이론을 기반으로 포스트모던 패러디의 개념과 표현 유형을 고찰한다. 그리고 문헌 검토와 사례 작품 분석의 연구 방법을 통해 표현 방식의 특성을 분류하고, 이 분류의 타당성을 검증하고자 한다. 이 논문은 포스트모던 패러디 표현에 대한 비평적 분류로서,‘직접 패러디’와 ‘간접 패러디’ 두 가지로 연구의 방향을 나눈다. 또한, 마사 로슬러와 토마스 허쉬혼,제프 월, 임안나 4명의 작가의 작품을 분석하여, 그들의 작품이 사회적 및 미학적 가치를 탐구하고, 동시대 예술사진에서 포스트모던 패러디 행위의 특수성과 복합성을 연구한다. 연구 결과는 포스트모던패러디의 표현 방식의 다양성에 근거한 이론적 연구 방향을 제시하며, 동시대 예술사진의 비평적 실천에 새로운 시각과 참고 자료를 제공하고자 한다.
Abstract
Postmodern parody, as one of the key expressive tools in postmodernist art, reveals the hiddenpower structures and ideologies within artworks by imitating, reinterpreting, and subvertingexisting works of art. Contemporary art photography encompasses a wide range of forms andcontent, and among them are photographic works that exhibit characteristics of postmodernismand postmodern parody. These works often employ methods of appropriation or parody toquestion the truth of photography, argue that reality is constructed, and focus on critiquing socialrealities. However, research on the typological expressions of postmodern parody within the fieldof contemporary art photography remains insufficient. Therefore, the purpose of this study is toexplore the modes of expression and narrative application characteristics of postmodern parodyin contemporary art photography. To address this research question, the study first examines theconcept and expression types of postmodern parody, based on Linda Hutcheon’s theory ofparody. Through a research methodology that includes literature review and analysis of casestudies, the study classifies the characteristics of different modes of expression and aims tovalidate the applicability of this classification. This paper offers a critical typology of postmodernparody expressions, dividing the study into two main directions: ‘direct parody’ and ‘indirectparody.’ Furthermore, by analyzing the works of four artists—Martha Rosler, Thomas Hirschhorn,Jeff Wall, and Anna Lim—the study explores their social and aesthetic values and investigatesthe particularity and complexity of postmodern parody acts in contemporary art photography. Theresults of this study provide theoretical research directions based on the diversity of postmodernparody expressions and aim to offer new perspectives and reference materials for the criticalpractice of contemporary art photography.
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