지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The great transformation of science was a leading factor in making the 20th century the greatest period of transition in the history of Western civilization. The theory of the fourth dimension, based on the space-time continuum, brought about a change in worldview; the technological civilization engendered by the Industrial Revolution sparked a paradigm shift in all areas of life, and art was no exception. In particular, geometric abstraction, which led the Modernist art movement in the first half of the 20th century, manifested a positive view of science and technology through its forms as well as in its use of materials and techniques. The geometric forms, which were an illustration of the system of rational thinking, were a visual model that proposed a mode of scientific thinking through a progressive worldview; the industrial products and machines used as materials and tools here were symbols of an advanced civilization.
Those artists engaged in experimenting with these abstract forms were technocratic utopians who believed that science and technology would bring about an ideal society: Naum Gabo (1890~1977) and Laszlo Moholy-Nagy (1895~1946) were two of the main artists representing this tendency. But despite their shared utopianism, the two men showed different attitudes in their approaches. In terms of art, it was the plastic element of ‘movement’ that most embodied the new science theory and technological civilization. Both artists pursued ‘movement’ but employed different methods for realizing it.
Gabo created metaphors for movement mostly through visual effects and even when showing real movement, he hid the mechanical devices creating the movement, presenting only the pure forms as works of art. Meanwhile, Moholy-Nagy not only embraced engineering technology in creating movement, he also presented mechanical devices themselves as part of his artwork. If science for Gabo was a model of art and technology was merely its means, Moholy-Nagy regarded science and technology as art itself. While Gabo was an idealist who applied the scientific mode of thought to art, Moholy-Nagy was a positivist who set out to present technology as it was and merged it with the sphere of art.
Thus, the works of Gabo and Moholy-Nagy reveal the development of modern science as it transformed from idealism to positivism. Their works are like an artistic index unveiling the realities of an age in which science was inverted into technology. At the same time they call to mind the path of Modernism’s germination, abstract art. The works also foretell the history of how the world of perfect logic that Mondrian and other like-minded artists dreamed of in the early 20th century became reified into Kinetic Art or Minimalism in the latter part of the 20th century. This history of reversal, in which the art that was driven by a realm of ‘idea’ based on a scientific worldview represented by geometry is reverted by technology back into ‘reality’, into a world of commodities, is a warning that the West’s project of modernity, defined by a scientific worldview, may be a ‘decline’ and not an ‘evolution’.
Those artists engaged in experimenting with these abstract forms were technocratic utopians who believed that science and technology would bring about an ideal society: Naum Gabo (1890~1977) and Laszlo Moholy-Nagy (1895~1946) were two of the main artists representing this tendency. But despite their shared utopianism, the two men showed different attitudes in their approaches. In terms of art, it was the plastic element of ‘movement’ that most embodied the new science theory and technological civilization. Both artists pursued ‘movement’ but employed different methods for realizing it.
Gabo created metaphors for movement mostly through visual effects and even when showing real movement, he hid the mechanical devices creating the movement, presenting only the pure forms as works of art. Meanwhile, Moholy-Nagy not only embraced engineering technology in creating movement, he also presented mechanical devices themselves as part of his artwork. If science for Gabo was a model of art and technology was merely its means, Moholy-Nagy regarded science and technology as art itself. While Gabo was an idealist who applied the scientific mode of thought to art, Moholy-Nagy was a positivist who set out to present technology as it was and merged it with the sphere of art.
Thus, the works of Gabo and Moholy-Nagy reveal the development of modern science as it transformed from idealism to positivism. Their works are like an artistic index unveiling the realities of an age in which science was inverted into technology. At the same time they call to mind the path of Modernism’s germination, abstract art. The works also foretell the history of how the world of perfect logic that Mondrian and other like-minded artists dreamed of in the early 20th century became reified into Kinetic Art or Minimalism in the latter part of the 20th century. This history of reversal, in which the art that was driven by a realm of ‘idea’ based on a scientific worldview represented by geometry is reverted by technology back into ‘reality’, into a world of commodities, is a warning that the West’s project of modernity, defined by a scientific worldview, may be a ‘decline’ and not an ‘evolution’.
목차
Ⅰ. 여는 글
Ⅱ. 과학적 사유의 모델로서의 조각: 나움 가보
Ⅲ. 과학기술로서의 미술: 라즐로 모홀리 나기
Ⅳ. 닫는 글
참고문헌
ABSTRACT
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