상품으로서의예술작품
I. 들어가는말
II. 상품이된예술작품
III. 상품생산방식의차용 é
IV. 나오는말
참고문헌 < 단행본 > 그랜트매크래켄 (1996), 이상률 ( 역 ), 문화와소비, 서울, 문예출판사발터벤야민 (1983), 반성완 ( 역 ), 발터벤야민의문예이론, 서울, 민음사장보드리야르 (1999), 배영달 ( 역 ), 사물의체계, 서울, 도서출판백의 (1991), 이상률 ( 역 ), 소비의사회-그신화와구조, 서울, 문예출판사볼프강 F. 하우크 (1991), 김문환 ( 역 ), 상품미학비판, 서울, 이론과실천진휘연 (2002), 아방가르드란무엇인가, 서울, 민음사이미혜외 (1998), 예술과경제, 부산, 경성대학교출판부조요한 (2003), 예술철학, 서울, 미술문화다카시나슈지 (2003), 신미원 ( 역 ), 예술과패트런, 서울, 눌와아놀드하우저 (1983), 최성만 ( 역 ), 藝術의社會學, 서울, 한길사앤디워홀 (2007), 김정신 ( 역 ), 앤디워홀의철학, 서울, 미메시스칼마르크스 (1987), 김수행 ( 역 ), 자본론, 서울, 비봉출판사 W. 타타르키비츠 (2005), 손효주 ( 역 ), 타타르키비츠美學史 1, 서울, 미술문화토머스크로 (1996), 조주연 ( 역 ), 토머스크로 60년대미술, 서울, 현실문화할포스터 (2007), 배수희 ( 역 ), Art Since 1900, 서울, 세미클론로버트앳킨스 (1994), 박진선 ( 역 ), ART SPEAK, 서울, 시공사리사필립스 (2011), 송미숙 ( 역 ), THE AMERICAN CENTURY, 서울, 학고재노버트린튼 (1993), 윤난지 ( 역 ), 20세기의미술, 서울, 애경출판사 Diana Crane(1987), The Transformation of Avant Grd, Chicago & London : The University of chicago press < 정기간행물 > 한국예술종합학교미술원조형연구소 (2007), Visual, 4 Rosalind Epstein Krauss (1960), Yves Klein, or The Dead Dealer October, 49
Art as a Commodity This thesis sheds light on the very first artists who viewed an art as a commodity, asserting the exchange value of their art works. The purpose of this thesis is to examine the way with their art works those artists revealed the exchange value which had been concealed by aesthetic value. An art always has both exchange value and aesthetic value except for some genres Until the Romantic period, artists hardly concerned that an artwork could become a commodity with exchange value as wage labor. Since the Industrial Revolution, however, there has been much attention towards the salability of artworks with the beginning of mass production and mechanical reproduction by technical progress as its starting point Nonetheless, there had been only utopian discussions rather than actual changes. It was in 1960s in America that artists appeared who insisted the exchange value of their artworks and equated the artworks with commodities. Their attitudes to an art were based on some of the characteristics of the society at that time. After World War Ⅱ, Americans urged mass production and consumption and progress of technology and media based on rapid economic growth and institutional stability. New consumption wants were built by numerous commodities and advertisements. Also, considerable information from mass media and the flood of advertising images helped pop culture to be accepted and spread.
With this stream of times, artists tried to borrow many characteristics of commodity in capitalistic society in order to use them as a form of the artworks. The leading artists; Yves Klein changed spiritual values into a form of consumption. Roy Lichtenstein derived half-ton dot from printed matters as his working method in order to express the consumption-culture. Andy Warhol sought commercialization and mass production of artworks through silk-screen. Claes Oldenburg considered an artwork as a product and intended to prove the exchange value. Their Attempts advanced the boundaries of the genre art, and they established a foothold of commercial art.