‘팝’과 아트 사이: 로리 앤더슨의 퍼포먼스를 통해 본 음악과 미술의 경계 (Between ‘Pop’ and Art: Laurie Anderson’s Performance)

서지정보

· 발행기관 : 서양미술사학회
· 수록지 정보 : 서양미술사학회 논문집 / 32호 / 233 ~ 255페이지
· 저자명 : 이지은

초록

퍼포먼스 작가인 로리 앤더슨은 공연과 레코드, 뮤직 비디오 뿐 아니라 영화, CD-Rom 제작에 이르기까지 다양하게 자신의 작품세계를 넓혀갔다. 이런 앤더슨의 행보는 ‘미술가’라는 명칭을 무색하게 한다. 그렇다면 미술과 팝 음악의 경계를 넘나드는 앤더슨의 작업은 오늘날의 현대미술에 무엇을 시사하는가? 본 논문은 공연을 하거나 레코딩을 통해 직접 ‘음악을 하는’ 미술가들의 계보를 추적해보며, 대중음악과 미술의 경계를 앤더슨의 사례를 통해 살펴보고자 한다.

영어초록

In 1981, performance artist Laurie Anderson’s single “O Superman” hit number two on British Pop chart, an event that took everyone by surprise, as no avant-garde artist before her had ever gained such a recognition in the industry of commercial arts and entertainment. The initial waves of criticism and scorn expressed by other avant-garde artists soon gave way to an era of creative explosion when they increasingly found in the cutting edge of music and film industries an innovative means of expression and gaining populist appeal.
On the one hand, Anderson’s popularity throws lights on the way in which the demarcating line between art and popular entertainments has become increasingly blurred. How does one draw distinction between high-brow arts and forms of popular entertainment as they both try to merge into our everyday life as the field of practice and popular appreciation? More important is how such a fusion facilitates a unique strategy of making her art more readily available, one that greatly expands her audiences for her critical practice.
Using Anderson’s performance works such as <United States> and <Home of the Brave>, this paper delves into the terrain of convergence between high-arts and popular entertainment as an important backdrop to bold artistic strategies that avant-garde art uses to get the broader public attention.

참고자료

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