정물사진의 비선형적 재현과 역사

초록

For long time, we have been accustomed with the formalism of modernism in representation art, namely, the common form, style and universal message of artistic work. Especially, the stereotyped message made by genres such as person, landscape, still life, etc in traditional picture has structure that can be communicated to and easily interpreted by all. However, all artistic works do not have such linear structure. Especially, works belonging to anti-modernism and postmodernism have unpredicted nonlinear characteristics. Nonlinear message is obviously seen in still life produced in photo, as unlike picture that can be diversely translated, still photo has uninterpretable index attributes of photo. Historically, the unpredictable nonlinear characteristics of still photo is well seen in the uninterpretable private still life left by the experimental photographers in the 19th century after the invention of photograph. Such nonlinear characteristics are further intensified in the still photo of surrealists who utilized the photo and objet of still life of Eugene Atget at the beginning of the 20th century as stimulation-signal which induced the imagination of starer. Nonlinear characteristics seen in contemporary still photo has emerged as conceptual deviation with anti-structure, anti-formalism, anti-genre since 1980s when postmodernism was universalized. The fullness of meaning and perspicuity of message which are clearly seen in traditional still picture are gradually disappearing and used as ‘formative tool for criticism.’ Further, still photo has taken the form of picture by utilizing record and evidence, the original function of photo, transcending the interpretative symbol of modernism aesthetics. In this case, photo is no longer genre or traditional media, but ultimately plays the role of postmodernism for artistic strategy, causing confusion of meaning in the conceptual aspect.

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