[ ANDREAS GURSKY ] ART HISTORICAL REFERENCES

 

GURSKY's ART HISTORICAL REFERENCES

 

 

AMORE PACIFIC MUSEUM OF ART ANDREAS GURSKY 

section 2 : ART HISTORICAL REFERENCES

거스키 작품의 특징 가운데 미술사 거장들의 작품에 대한 언급을 빼놓을 수 없다. 1955년에 태어난 작가는 전후의 폭발적인 현대미술 운동들을 목도하며 성장했다. 그는 게르하르트 리히터, 잭슨 폴록이나 바넷 뉴먼의 추상미술 등 당대의 다양한 경향들을 빠르게 받아들이면서 사진을 현대미술에 본격적으로 진입시켰다. 작가는 <크루즈>에서 리히터의 컬러차트와 솔 르윗의 조각적 특성을, <무제 I,III>에서는 폴록의 '올 오버' 회화와 유사한 구성을 선보이고, <회상>에서는 뉴먼의 작품을 직접적으로 참조한다. 이처럼 거스키는 사진과 미술의 경계 허물기를 통해 기존의 사진의 틀을 벗어나 우리 삶의 실체를 드러내는 예술로서의 사진을 창조하고자 하였다.

One of the key characteristics of Gursky's works has to be their recognition of the art historical traditions. Born in 1955. Giursky grew up witnessing the post- war contemporary art movements. Quickly absorbing the varied trends led by the likes of Gerhard Richter, Jackson Pollock, and Barnett Newman, he managed to legitimately weave photography into the realm of contemporary art. His work Kreuzfahrt demonstrates the composition of Richter's color chart paintings and aspects of Sol LeWitt's sculptures Ohne Titel I and Ohne Titel III show compositional similarities to Pollock's all-over composition; and Rückblick even directly features a work of Newman's. Such endeavors dismantled the boundary between genres, allowing photography to escape the existing frame of definition and to be reintroduced as an art form that unveils life in its entirety.

 

자료출처 : ANDREAS GURSKY 기획전