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Robert Irwin’s Installation Art: A Dialectical Understanding of the Semantics of Plural Boundary Deconstruction

  • Journal of History of Modern Art
  • 2018, (44), pp.39-67
  • DOI : 10.17057/kahoma.2018..44.002
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : October 22, 2018
  • Accepted : November 26, 2018
  • Published : December 31, 2018

Shin Young Sung 1

1서울대학교

Accredited

ABSTRACT

This study aims to understand the meaning of plural ‘boundary deconstruction’ as seen in Robert Irwin’s installation art from a dialectical perspective, which translates this world’s various phenomena into an artistic context. In particular, it focuses on boundaries between artworks and surroundings as well as the audience’s interactions among their circumstances. By doing so, it helps understand the meaning of collapse of conflicts in his artworks where we can rediscover the beauty of the world through our own sensory experience. In his works, object and environment create one united artistic context with their mutual relationship. The deconstruction of the physical boundary confuses the complex sensory experience of the audience by making possible the simultaneous existence of conflicting aesthetic concepts such as insideand outside, order and disorder, as well as contradicting situations such as everyday life and art. Through this, the audience can not only achieve a sensory experience but also understand and become aware of its meaning of existence as subjects of senses that are connected to the world. This leads to a sense of awareness of other people. The audience can then feel the consciousness of kind as a community that shares thisworld through implicit sensory interactions that Irwin referred to as ‘the dialogue of immanence.’

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