현대 중성사진과 기록의 미학 무의미의 파토스와 평범 미학을 위한 또 다른 객관성
The Neutre Photography and the Aesthetique of the Recording in the Contemporary Art
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As the neutral photo is not one image type or style, which is classified like reporting photo, application photo, concept photo, and illustrated photo in media for communication, but is a concept photo fundamentally that an artist utilizes documentarization in order to deliver own message, it is understood today as photoconceptualitsm in theorists' definition. This photo points not to a special case that was seen from the viewpoint of group, but points to the so-called anti-art while reproducing a daily thing that can be seen anytime and anywhere such as building, car, outskirts, apartment, square in a city, expressionless face, and secluded place in the street. As we see the objects, we discover the attachment to life and the truth in existence that each cannot be explained paradoxically at an antipode in the prejudice of judging immediately and in the standardized preconception, in architecture and place that are scattered anytime and anywhere, in the bleak city and empty land in outskirts, in carbon-copy face on the street, in the daily inquisitive thing, and in outdated object. As that is directly sadness in another strong impression, it is insignificant pathos.
Abstract
As the neutral photo is not one image type or style, which is classified like reporting photo, application photo, concept photo, and illustrated photo in media for communication, but is a concept photo fundamentally that an artist utilizes documentarization in order to deliver own message, it is understood today as photoconceptualitsm in theorists' definition. This photo points not to a special case that was seen from the viewpoint of group, but points to the so-called anti-art while reproducing a daily thing that can be seen anytime and anywhere such as building, car, outskirts, apartment, square in a city, expressionless face, and secluded place in the street. As we see the objects, we discover the attachment to life and the truth in existence that each cannot be explained paradoxically at an antipode in the prejudice of judging immediately and in the standardized preconception, in architecture and place that are scattered anytime and anywhere, in the bleak city and empty land in outskirts, in carbon-copy face on the street, in the daily inquisitive thing, and in outdated object. As that is directly sadness in another strong impression, it is insignificant pathos.