‘금지된 이미지들’ : 현대 미술과 센서십 = Forbidden Images: Censorship and Contemporary Art

다국어 초록 (Multilingual Abstract)

" Carole Vance, a feminist historian and anthropologist, offered an interesting observation on the ironical condition surrounding censorship in art. Based upon her experience at the renowned Meese Commission in 1986, she theorized the “pleasure of condemnation” -society s frenzy for the image that were once categorized as “pornographic” and “perversive.” At commissioner’s hearing, people ran into the seats where they could see the perversive images to express their huge curiosity toward censored visual materials. This study, drawing upon Vance’ insight, explores this dual attitude of our society toward forbidden images and censorship in contemporary art.
With the important trials of a poet Allen Ginsberg, William Burrough and a film director Kenneth Anger during the late 1950s and early 1960s, intensives suppression of the erotic portrayals of the male nude and homoerotic images in literature and movie were set in place. The increasing number of censorship cases, however, went in hand in hand with public curiosity toward the homosexual as most effectively captured in 1964 articles in Times and Life that devoted to the conditions of homosexual communities in major postwar American cities such as New York and San Francisco.
The collaborative work by Frank O’ Hara and Joe Branard in the 1964 as well as Andy Warhol’s 〈The Thirteen Most Wanted Men〉 shed a light upon this dual function of censorship; for O’Hara’ s contra-band covering the penis in a series 〈Hard Times〉(1964) enables the viewer to experience the tantalizing effect of the black band that both blocks and invites the viewers’ voyeuristic desire toward the hidden parts. Likewise, Warhol, with his typically passive and absurd manner, covered the images of thirteen criminals, the images that he obtained through a homosexual police officer in New York. Upon facing criticism from the local media-and possibly officials of the New York International Exposition where the work was originally installed-Warhol simply painted it over with silver color to leave the trace of controversy and censorship. As a result, the blank silk screen consistently drew the visitor’s attention although it never revealed the original image underneath.
This study, thus, pursues the complicated role of viewer’s desire, especially his/her ambiguous curiosity and attitude toward the forbidden images-beyond describing the case of censorship or censored images. To follow Vance’ theory of pleasure, I concentrate on the positive aspects of pleasure and fantasy related to the discussion of censorship as a way of rethinking the roles of viewers as well as of artists who deal with controversial images and themes in contemporary art.

목차 (Table of Contents)

• Ⅰ. 들어가는 말: ‘금지된 즐거움’
• Ⅱ. 오하라와 브래나르의 검은 띠
• Ⅲ. 워홀의 “삭제”된 13명의 범죄자 이미지들
• Ⅳ. 나가는 말: 이미지가 없는 자리