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In the 1960s and 1970s, French art gave birth to artist groups with diverse dispositions from extreme conceptual art to politically participating art that aligned its actions with political organizations. This study focuses on artist groups that expressed strong political viewpoints by voicing direct opinions on political phenomena and events, including those involved in the Nouvelle Figuration movement, the affichistes of Nouveau Realisme , the Atelier Populaire, and Grapus.
Although these groups all emerged during the 1960s and 1970s under similar political circumstances, they produced distinct and independent art works that can be formatively distinguished. It is worth noting that while the artist groups pursued an identical goal of making political points through figurative illustration, they displayed unique formative characteristics and participated in a wide range of social activities while not being absorbed into or offset by each other.
However, most studies on the Nouvelle Figuration movement and the affichistes of Nouveau R alisme e have focused their discussions on the formative and aesthetic aspects. Furthermore, despite the fact that multiple attributes of poster works done since the 18<SUP>th</SUP>century have been frequently studied in art history, the political posters of Atelier Populaire and Grapus groups have been examined only from their sociological perspective while their formative significances and implications in art history have been largely overlooked. The objective of this study is to escape from the restrictive approach taken by previous studies and examine the artist groups with a comprehensive viewpoint that encompasses the duality of formativeness and social participation for a multidimensional discussion.
From the formative perspective, the political artist groups of the 1960s and 1970s maintained the concept of embodiment that had been constantly used by the artists engaged in social participation since the 19<SUP>th</SUP>century realism. However, the French political artist groups implemented variation on top of figurative illustration to produce their unique individual embodiment, making political statements. From the social participation point of view, the groups went beyond the realm of art and became directly involved in politics. In turn, they made diverse attempts with their strategic approaches to express political concerns in a more effective manner. In other words, the political art groups that formed in France in the 1960s and 1970s can be regarded as an achievement of French participatory art stemming from three elements that became tightly intertwined - the concept of embodiment that provided the basis for socially participatory art amidst the political circumstances of the era, the unique formative properties of each group, and the strategic means of exposure executed through artist group movements.
Although these groups all emerged during the 1960s and 1970s under similar political circumstances, they produced distinct and independent art works that can be formatively distinguished. It is worth noting that while the artist groups pursued an identical goal of making political points through figurative illustration, they displayed unique formative characteristics and participated in a wide range of social activities while not being absorbed into or offset by each other.
However, most studies on the Nouvelle Figuration movement and the affichistes of Nouveau R alisme e have focused their discussions on the formative and aesthetic aspects. Furthermore, despite the fact that multiple attributes of poster works done since the 18<SUP>th</SUP>century have been frequently studied in art history, the political posters of Atelier Populaire and Grapus groups have been examined only from their sociological perspective while their formative significances and implications in art history have been largely overlooked. The objective of this study is to escape from the restrictive approach taken by previous studies and examine the artist groups with a comprehensive viewpoint that encompasses the duality of formativeness and social participation for a multidimensional discussion.
From the formative perspective, the political artist groups of the 1960s and 1970s maintained the concept of embodiment that had been constantly used by the artists engaged in social participation since the 19<SUP>th</SUP>century realism. However, the French political artist groups implemented variation on top of figurative illustration to produce their unique individual embodiment, making political statements. From the social participation point of view, the groups went beyond the realm of art and became directly involved in politics. In turn, they made diverse attempts with their strategic approaches to express political concerns in a more effective manner. In other words, the political art groups that formed in France in the 1960s and 1970s can be regarded as an achievement of French participatory art stemming from three elements that became tightly intertwined - the concept of embodiment that provided the basis for socially participatory art amidst the political circumstances of the era, the unique formative properties of each group, and the strategic means of exposure executed through artist group movements.
목차
Ⅰ. 서론
Ⅱ. 1960-1970년대 프랑스 사회와 정치적 미술그룹의 형성
Ⅲ. 작업 방식을 통해 살펴본 그룹의 정치적 태도
Ⅴ. 결론
참고문헌
Abstract
참고문헌 (2)
참고문헌 신청
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