벨팅의 예술종언론과 현대미술의 기술 방법

Abstract

Hans Belting, through an examination of Vasari’s Lives of the Artists in the second-half of his The End of the History of Art?, inspected the influence upon the historical development of art, and the development of subsequent writings of art history. It implies that any kind of art history which does not take into consideration the contemporary art practice, function and experience is ultimately inadequate. For art must be considered not from the canonical judgment persistently pursued by traditional art historians in the Renaissance period, but from the attitude in vogue recently. Various art movements produced since the modern times were a worldwide trend beyond the limits of race or region. Thus it would be compulsory to avoid a method to discuss an art form that belonged to a country or cultural network like the Renaissance period. The pivotal theme of his The End of the History of Art? was to attempt to discover a method for overcoming the separation of modern art history from the contemporary art practice and experience. What is meant by his book is not an end of that discipline, but that of a special concept such as art-historical development as a continuity of meaningful and developing history. It was to grope at a methodology to write about an art form after modernism, proceeding in a pattern quite different from those of the past. Well, Belting advises us to increase our concern on individual artworks rather than to propose a new type. For he saw the unprecedented variety of modern art. His final methodology of art history was image theory and Bildanthropologie. For instance, the images that he suggested with Video art were real and fictional ones, that is, which speaks for the phenomenon of modern culture. He grasped a methodical motif for writing about modern art by establishing a relationship between the two. Belting is endeavoring to write about modern art with Video art, just as Danto's attempt to write about modern art with Pop art, who argued the end of art in a voice as same as him. Additionally, he is expanding the horizon of that discipline worldwide, by inducing anthropology into the realm of art history in accordance with globalization. From that sense, his innovative art history could be called a broad-sense art history or image art history or anthropological art history.