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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2005.12
- 수록면
- 175 - 205 (31page)
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The incorporation of the work of minority and marginalized artists into the museum in the late 1980s through the mid 1990s went along with, and was often negotiated through, a new emphasis on “multiculturalism” and “postcolonial” discourse. At the same time, museum curators and critics began to justify presentations and interpret cultural identity in terms of a new institutional impetus towards “diversity” that practically categorized Americans into five groups(African-American, Asian-American, Native American, Hispanic-American, and European-American) as well as two other groups that included women and gays/lesbians. It was in this context that there was a steady rise in the number of exhibitions focusing on notions of identity and the work of those thought of as marginalized Others. In such exhibitions, several features were particularly distinguishable from those of postmodern art or the second generation of feminist art in the 1980s. My paper defines and examines these new features as the rise of autobiographical works, the return of the artist as the author, and the emphasis on the realism mode of photography.
It is, indeed, striking to see how many works in the late 1980s and the 1990s were, at least in part, autobiographical, emphasizing the artist’s unique experience. Works by artists such as Howardena Pindell, Sue Williams, Margo Machida, and Adrian Piper were interspersed with autobiographical texts or images of the artists themselves. Films exploring the artist’s own or family’s past also abounded, such as pieces by Marco Williams, Janice Tanaka, and Camille Billop & James Hatch. Among these kinds of works, many attempted to locate a “real” self, although they could not in the end. This contrasts with the deconstruction of the self that motivated so many works produced by second generation feminist artists in the 1980s. The attention to author’s identity and experience led not only to the proliferation of autobiographical forms in art but to the rebirth of artists as the author of their work in critiques and reviews. Besides, the curators as well as critics in the catalogue also tended to focus on artists’ intentions for reviewing their works. The attention to the artist’s words might be somehow imperative, since the work was autobiographical and included texts. However, what was at stake in such attributions of each artist as the origin of the meaning of work is that it could preclude the possibility of other meanings that would be produced or transformed by someone else’s understanding or reading of the piece.
Many photographs produced as self or community portrayal works were often taking documentary forms which worked in quite an opposite manner from the earlier practice of appropriation in postmodern art. Supported by the discourse of deconstruction or postmodernism, Richard Prince’s rephotographing of magazine ads and Sherrie Levine’s photographs of the photographs by Edward Weston and Walker Evans raised questions about originality and authenticity in art as well as the imagery depicted in the works. They resisted the common presumption of photography as transparent to the outside world, and as a true reflection of one’s identity. However, Nan Goldin, Richard Ray Whitman, and Chan Chao who pictured themselves, friends, or community were relying on a mode of realism by not rejecting difference of distance between the perception of the original object and its representation. Particularly, the emotional effect on some critics and audience provoked by Goldin’s works was even quite different from the other portraits or documentary forms. The marginalized world of the drag queen’s society in the Lower East Village night life that was not familiar to most outsiders seemed to instill a strong emotional curiosity for the audience, whether it would be desire, empathy, sadness, or embarrassment. I examine this kind of possible emotional effect from Goldin’s photos in terms of “mad realism” which recalls Roland Barthes’ encounter of photographs of his dead mother in his last book Camera Lucida, thereby denying his previous rejection of the correspondence between the signifier and the signified.
It is not my intention here, however, to explore readings of individual images. Whether works depict individuals heroically or in a miserable state, what was more Significant was the proliferation of the autobiographical in the multicultural exhibitions in the 1990s and the fundamental issue it raised of political representation. This issue concerns what Kobena Mercer has identified as the “burden of representation”, in which minority artists were expected to speak for their own community. The autobiographic mechanism was operating even in works that presented anonymous subjects in the way the museum audience was invited to locate the artist’s identity via the identities of the people pictured, invariably drawn from the artist’s community and defined in terms of ethnicity, sexual orientation, or gender. Art work by racially, ethnically, or sexually marginalized artists seemed to be expected to address personal identity or community identity, regardless of the artist’s intent which often claimed for “hybridity” by denouncing the notion of “cultural diversity”. Thus, the museum and exhibition imposed a reading in which artists were seen primarily as representatives of their identity and culture. Artists were expected to delineate their cultural or sexual identity within given categories, such as the African-American woman or the Asian-American gay. So, in effect, there was a proliferation of newly constructed identities of Americanness along the lines of hyphenated Americans, gender and sexuality rather than highly multiplied and hybrid identities “in-between” or “beyond” these group identities.
It is, indeed, striking to see how many works in the late 1980s and the 1990s were, at least in part, autobiographical, emphasizing the artist’s unique experience. Works by artists such as Howardena Pindell, Sue Williams, Margo Machida, and Adrian Piper were interspersed with autobiographical texts or images of the artists themselves. Films exploring the artist’s own or family’s past also abounded, such as pieces by Marco Williams, Janice Tanaka, and Camille Billop & James Hatch. Among these kinds of works, many attempted to locate a “real” self, although they could not in the end. This contrasts with the deconstruction of the self that motivated so many works produced by second generation feminist artists in the 1980s. The attention to author’s identity and experience led not only to the proliferation of autobiographical forms in art but to the rebirth of artists as the author of their work in critiques and reviews. Besides, the curators as well as critics in the catalogue also tended to focus on artists’ intentions for reviewing their works. The attention to the artist’s words might be somehow imperative, since the work was autobiographical and included texts. However, what was at stake in such attributions of each artist as the origin of the meaning of work is that it could preclude the possibility of other meanings that would be produced or transformed by someone else’s understanding or reading of the piece.
Many photographs produced as self or community portrayal works were often taking documentary forms which worked in quite an opposite manner from the earlier practice of appropriation in postmodern art. Supported by the discourse of deconstruction or postmodernism, Richard Prince’s rephotographing of magazine ads and Sherrie Levine’s photographs of the photographs by Edward Weston and Walker Evans raised questions about originality and authenticity in art as well as the imagery depicted in the works. They resisted the common presumption of photography as transparent to the outside world, and as a true reflection of one’s identity. However, Nan Goldin, Richard Ray Whitman, and Chan Chao who pictured themselves, friends, or community were relying on a mode of realism by not rejecting difference of distance between the perception of the original object and its representation. Particularly, the emotional effect on some critics and audience provoked by Goldin’s works was even quite different from the other portraits or documentary forms. The marginalized world of the drag queen’s society in the Lower East Village night life that was not familiar to most outsiders seemed to instill a strong emotional curiosity for the audience, whether it would be desire, empathy, sadness, or embarrassment. I examine this kind of possible emotional effect from Goldin’s photos in terms of “mad realism” which recalls Roland Barthes’ encounter of photographs of his dead mother in his last book Camera Lucida, thereby denying his previous rejection of the correspondence between the signifier and the signified.
It is not my intention here, however, to explore readings of individual images. Whether works depict individuals heroically or in a miserable state, what was more Significant was the proliferation of the autobiographical in the multicultural exhibitions in the 1990s and the fundamental issue it raised of political representation. This issue concerns what Kobena Mercer has identified as the “burden of representation”, in which minority artists were expected to speak for their own community. The autobiographic mechanism was operating even in works that presented anonymous subjects in the way the museum audience was invited to locate the artist’s identity via the identities of the people pictured, invariably drawn from the artist’s community and defined in terms of ethnicity, sexual orientation, or gender. Art work by racially, ethnically, or sexually marginalized artists seemed to be expected to address personal identity or community identity, regardless of the artist’s intent which often claimed for “hybridity” by denouncing the notion of “cultural diversity”. Thus, the museum and exhibition imposed a reading in which artists were seen primarily as representatives of their identity and culture. Artists were expected to delineate their cultural or sexual identity within given categories, such as the African-American woman or the Asian-American gay. So, in effect, there was a proliferation of newly constructed identities of Americanness along the lines of hyphenated Americans, gender and sexuality rather than highly multiplied and hybrid identities “in-between” or “beyond” these group identities.
목차
Ⅰ. 들어가는 말: ‘다문화주의(multiculturalism)’의 도래
Ⅱ. 자서적적 작품들과 저자의 부상
Ⅲ. 낸 골딘(Nan Goldin): 리얼리즘 모드로의 회귀
Ⅳ. 작품을 넘어선 자서전적 의미체계의 확장
Ⅴ. 에필로그: 다문화주의적 ‘잡종성’ 대 ‘혼성성’
참고문헌
Abstract
「“잡종” 미국인들: 1990년대 자서전적 모드의 부상」에 대한 질의(전혜숙)
참고문헌 (22)
참고문헌 신청
[학술지(정기간행물)] - / 1989 / A Report to the Ford Foundation
[학술지(정기간행물)] - / 1981 / Reflections on Photography
[학술지(정기간행물)] - / 19771994 / Death of the Author The Location of Culture : 142 ~ 48
[학술지(정기간행물)] - / 1990 / and the Discourse of Colonialism New Museum of Contemporary Art and MIT Press : 71 ~ 87
[학술지(정기간행물)] - / 2000 / The Politics of Culture Policy Perspectives for Individuals
[학술지(정기간행물)] - / 1981 / Reflections on Photography
[학술지(정기간행물)] - / 19771994 / Death of the Author The Location of Culture : 142 ~ 48
[학술지(정기간행물)] - / 1990 / and the Discourse of Colonialism New Museum of Contemporary Art and MIT Press : 71 ~ 87
[학술지(정기간행물)] - / 2000 / The Politics of Culture Policy Perspectives for Individuals
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