현대사진과 현대미술의 구조적인 관계 연구 - 동시대 사진의 지형을 중심으로 -

Abstract

In the early 19th century, the newly invented field of Photography served a practical purpose, but between the 1850s and the 1890s, it became a tool for aesthetic development, as well. During the 19th century, fine art photography absorbed the aesthetics of that period's painting. As a result, there was no distinctive difference in style. From the '10s to the '50s, photography began to acquire a unique aesthetic quality of its own, but even today, photography and painting still co-operate aesthetically. During the 60s and the 70s, modern photography ran headlong into conceptual art, and in an environment characterized by postmodernism, the result has been that the phenomena of pluralism, conceptualization, and individualization have become much more pronounced. The boundary separating photography and art has blurred. Photography has carved out its own place in the centre of contemporary art. After 2000, since digital technology has radically transformed photography,cross-genre started to become a serious force in its own right. This has caused changes in the fundamental photographic conception and aesthetics. This dissertation examines the way in which contemporary photography has changed over the past 30 years, based on its relationship to art. This process is most helpful in understanding the landscape of contemporary photography and photography's future.