Bruce Nauman committed himself to installation art works for 4 to 5 years around 1970 by making a corridor along the walls with some added devices like CCTV, lightings and mirrors including "Live-Taped Video Corridor." Nauman was able to control viewers' movement at his will by creating narrow corridors along the walls in these installation works. In these works, the walls, cameras and closed circuits in TV monitors control the viewing mode by changing the space and influencing viewers' perception of the space. In this system, Nauman discovered a possibility to create a new representation of space, that is, the attribute of 'surveillance' and to manipulate time and space. Nauman's installed corridors offer 'virtual reality' and enable the viewers to directly experience new possibilities of art, creating new mode of reception. Nauman's corridors are a little different from general surveillance situations as they interrupt and deconstruct visual compositions and images to some degree to make us see things 'differently.' Exposure to unexpected strange situations stimulates anxiety, creates the sense of lacking and imperfection between the subject and the object in the corridors, and deprives the rights as a subject of the subject of seeing.One of the important recurrent themes in his installation works is to make the viewers focus on their own senses so that they can feel their own perception processes. Creating disparities between what the viewers perceive in the corridors and the reality is the way to reveal the perception processes in the corridor installation works.A series of Nauman's Corridor installation works rendered an opportunity to establish him as an artist through performances and performing arts in videotapes, and are considered a critical art work in its pursuit of the meaning of art in the midst of confusion in the world of art at that time. While his works before 1970 could not distinguish themselves from other artists' works, the space of 'corridor' became a footing for him to etablish himself as an artist.

The works of James Turrell(1943- ) are composed of light, space where light exists and perceptual experience of viewers perceiving and interpreting them. His early work Projection Pieces(1966- ) created forms of image with light emitted from a projector, while giving a three-dimensional effect to the plane image of light by using the structural characteristics of space. Through works in such a method, Turrell dealt with the thingness of light by forming cubic images of light, as if they physically existed, and led viewers, starting to perceive nonmaterial-like light, to visual perceptual experiences. In the flow of Minimalism starting to appear in the early 1960s, Turrell’s Projection Pieces was evaluated to possess physical characteristics of Minimalism because of its light cubic sculptural shape. However, the theme of his work, called a viewer’s perceptual experience, is the peculiar attribute of Turrell’s works, which cannot be read with the generalized proposition of Minimalism that pays attention to the physical characteristics of works. In this view, this study attempted to carry out a research on the originality and distinction of Turrell’s works by investigating the perceptual process of a viewer perceiving light. As mediums to induce viewers to have perceptual experience so that they might perceive images of light, Turrell used the attributes of light and the structure of exhibition space likely to sustain three-dimensional forms while having visions. In addition, by inducing the visual stimulus and tactual sense of viewers perceiving light, Turrell intended them to be absorbed into elements of work themselves. Such a characteristic helped viewers expose their mental self-awareness, so-called perceptual experiences, by having them perceive visions of light in space where actual objects don’t exist. From Projection Pieces to Ganzfeld APANI, images of light expressed by being materialized were intended to be viewers’ visual visions, and the process of viewers perceiving light and light was suggested through his work. Besides, he also suggested a philosophical thinking of phenomenology that the process of viewing works to grasp the substance of light was ‘seeing a fact that one is seeing.’ Viewers’ personal emotions and philosophical and meditative process of perception leads Turrell’s work even to an experience of sublimity, while appreciating visions of light in space that something exists and nothing exists at the same time. Turrell’s work suggested a research on the concept of spirituality, called viewers perception through simple forms of light images. Turrell also explains well the process of reaching the ‘perceptual art’ called by himself.

Richard Misrach is a landscape photographer who has worked on the subject of the deserts in the American West since 1979. His "Bravo 20" is part of his project titled Desert Cantos. Published in 1990, his collection of photographs "Bravo 20: The Bombing of the American West" includes 28 photos that he took during his 18-month stay at the Nevada Desert that's devastated by the illegal bombing of the U. S. Navy. His photos formed a public opinion and made a contribution to turning the Bravo 20 area illegally occupied by the military into public land. The collision between civilization and nature described in his photos reports the murder of the ecosystem and the continuance of internal colonialism through the case study of the irrational military policies. He adopted a strategy of presenting the nature brutally ruined by the civilization of the military in such beautiful colors. He decided to show the ugly place in a beautiful way because he expected that beauty had the ability to deliver complicated ideas and could bring changes to people's viewpoints of things. This study saw that the photos of "Bravo 20" were characterized by his mourning over the ruined nature. To show his condolences, he metaphorically cited historical events in his photos, which accordingly displayed the characteristics of conventional history paintings. The historical events he cited tell a disturbing history of the past and the present involving wars and conquest of the West. He presented them ambivalently in beautiful colors. In his photos of "Bravo 20," he also maintains that a photographer should grow out of the roles as a free observer and engage in polemic, contextualization, and proposition. While the old war photos are snap shots that captured an event at the moment of happening, his post-apocalyptic landscape that dealt with what's left after a disaster is close to war history paintings and grieves over nature by expressing the fear in ruins through sublime beauty. In addition to mourning, he went on a step farther by suggesting the idea of "Bravo 20 National Park" and attempted the revival and rebirth of nature. Unlike the national parks of the previous generation that are based on the concept of protecting beautiful nature from damage, his national park sets out to recover damaged nature as a new type of environment park. He expected his park to play the roles of a memorial park as well by reminding the military, government, corporations and individuals of how their acts endangered the earth and purging the guilt of mankind through the memory of the complex and disturbing history. But his "Bravo 20 National Park" failed to be materialized as a physical park and even received an evaluation that it's not a political statement but a kind of conceptual art. Although the idea was not put into practice physically, it's reproduced in the form of web, exhibition at galleries, photography collections, and individual prints. Thus it's safe to argue that his national park was put into cultural practices, which gives some significance to it. His perception of the environment displays an ecological world view in earth art and ecological art. While the earth artists left their artistic products in photographs, he, on the contrary, visualized the landscape that he chose following his own will. The study offered an opportunity to illuminate Misrach as an environmental artist who aggressively presented his ecological perceptions of the environment through the medium of photography instead of limiting him within the scope of a photographer. It's also revealed that he went on further from the one-dimensional political landscape and added the multiple implications of hoping for rebirth to the landscape photos of "Bravo 20" through his mourning over the contaminated landscape. And in his "Bravo 20," he expressed his determination as an artist to present the dark history of illegal occupation of the American West in beautiful colors and turn the place of despair into a national park of hopes.

The works of Eric Fischl(1948-) have plainly or suggestively exposing private problems such as alcholism, voyeurism, and masturbation, he has paid attention to 'confidential and morbid desires embedded in the richness of American middle class' and thereby he has been paid attention to. However, the aspect of 'pictorial narrative' in his works, which he himself has mentioned in a number of interviews, have hardly been highlighted. From his early works of mid-'70s to recent series, Eric Fischl has introduced varied modes and techniques to express narratives of his own. Based on both his works and his remarks concerning narrative, this study tries to examine what his 'pictorial narrative' is, through what modes it has developed, and how it is revealed in the works. For that purpose, it applies the narrative theory of Seymour Chatman to the analysis of his major works, and partly puts into consideration those of Shlomith Rimmon-Kenan, Gerard Genette, and Roland Barthes. In the mid-70s, Eric Fischl tries to create his story by putting words into his glassine works like a pictorial poem. Thereafter, in 1980s, Eric Fischl develops his pictorial narrative in more varied ways. His series show traditional narrative features including classical narrative factors and storytelling under a plot. However, despite those features, his works get out of the traditional narrative structure on the ground of the absence of clear directions and inexplicit storytelling. In his next series, the irregular appearance of a person, the absence of order, and the ambiguity of cause and effect induce the viewers to participate in the works and recreate their own texts. Eric Fischl rejects a closed structure in which the conclusion is suggested unilaterally by an artist, building up his own narratives in an open structure. For that purpose, by establishing intended absence of information, lapse of time, variability of a meaning and time change, he stimulates the viewers to fill the blanks for themselves in the recognition of the shortage of analytic clues. These contrivances shown in Fischl's works mean an open text, getting out of the separation between the artist who dominantly delivers the meaning and the viewer who passively reads the works. That is, the viewers are invited to actively participate in the story, restructuring the narrative. In those respects, it is not ignored that some features of Post-structuralism are inherent in his works. The existing studies on Eric Fischl have focused largely on the psychoanalytical features. Against it, this study analyzes Fischl's works in the perspective of narrative analysis based on the theories of Structuralism. In the result, this study finds that the works of Eric Fischl not only have narrative factors of Structuralism to deliver his stories, but they also aim to an open-ended structure to widely communicate with the viewers, thereby extending the narrative territory into Post-structuralism.

As becoming a classicist David had strong faith that art must be useful to his contemporaries. The progressive philosophes were enthusiastic about the classical antiquity by reflecting ancient spirit in their society, and David who was close to them inherited and developed classicism both in style and content actively. David's idea that art ought to contribute to the progress of the human spirit gave rise to resistance against the Royal Academy of Fine Arts. The Royal Academy was the despotic power system which suppressed the freedom of artists to satisfy autocrats. David's hostility to the Royal Academy promoted his progressive inclination to the more radical one, and led him to tie up with revolutionists. The revolutionists wanted to form a new society and David desired eagerly to establish ideal surroundings as an artist. That is, David's interests were in accord with theirs. Finally, the Royal Academy was broke up by David's effort. In doing so, he reformed and dominated the art of his own day and became a revolutionary artist. David sympathized with revolutionary generation in a religious viewpoint. David planned the Fête of the Supreme Being. The Supreme Being was a kind of god created by the revolutionary government. For the person who looked forward to establishing a new state, the traditional Catholic was the typical power system which suppressed the people by preaching them to obey. David and the leaders of the French Revolution, however, did not deny god and religion itself. The revolutionary government took the position that a religion was necessary to unite the people and to secure social stability. David joined the Theophilanthrophy. It was an all-embracing religion for the people which proclaimed the existence of god and the immortality of the soul and preached tolerance and the importance of one's duty to one's fellow man. It could make sure that David's political activities and his view of art were inseparably related to each other. By accepting classicism David realized the social importance of art and got a progressive idea at the same time. As he got more radical thought, his concern moved away from canvas. Needless to say, David's inclination to politics and desire for power can not be eliminated in referring to his social participation. The substantial aspect of his sense of social participation, however, was his desire to develop artistic capacity in a society given a guarantee of the individual freedom.

This is the study of American Aesthetic Movement and the Louis Comfort Tiffany's Decorative art. At first, I supposed that Louis Comfort Tiffany (1848-1933) was the most successful American Aesthete. He insisted that he pursuit of ‘quest of beauty’ entire his art life at the speech in 1919 retrospective exhibition. The ‘quest of beauty’ is one of creeds of Aestheticism became known through the famous English aesthete Oscar Wilde lectured at the American tour lecture in 1882-1883. Interestingly Wilde also addressed English Arts & Crafts Movement and the ideas of John Ruskin at the lectures. So American public and artists could be accepted both English decorative art movements synthetically. That resulted many of artists turned their focus on decorative art media or decorative art production, as like interior design, stained glass, art pottery, etc. To American artist, interior decoration was another medium for artistic experiment or art-making to realize ideal beauty in everyday life. To beautify everyday life and environment with artistic utilitarian goods was the goal of William Morris(1834-96)' who the leader of Arts & Crafts Movement, so as to Louis Tiffany. Then, Louis Tiffany tried to show his individuality by the eclectic synthesis of the Oriental-Western styles. He synthesized Western & Oriental arts of disparate region or ages uniquely. Finally, his eclectic design method would be applied for creating interiors to artistic unity. Because of Louis Tiffany was a Colorist painter and American Aesthetic Movement artist also, he searched for beauty and wished to express the beautiful ‘color and light’ effect through his art. To accomplish this artistic goal, he used oil and watercolor paints, from opaque to transparent and also translucent at the same time. At last, he developed the ‘Favrile glass’ to describe the colored light, coloring, shades and gradations more than paintings do. Furthermore, he used a variety of decorative media like glass, enamel, jewel and textile for the natural/artistic reproduction of color and light effect in nature. What was the reason for Louis Tiffany's pursuit of naturalism in his product design? The reason was that he sympathized with the John Ruskin's design concept with ‘garden room’ interior design. He tried to depict natural landscape or garden flowers and vegetables on the stained glass windows, glass vases, lamp shades, enamel work, jewelry to construct Aesthetic-practical garden room. That was also the way to be accomplished the authentic goal of Morris' Arts & Crafts Movement.So he incorporated various art companies and then developed art industry complex. He was also an entrepreneur who produced variety of household products industrially. The reason is that he hoped to realize the ideal of William Morris. Who advocated to beautify the interior and daily life for the public. But real consumers of the Morris products were only the wealthiest high class in England and also in America. However, Louis Tiffany's decorative art work differentiated from the Morris'. Because he wanted to answer the demand for consumer democracy. Therefore, he pursued artistic & economic goals simultaneously through his art enterprises as he accepted Aestheticism and Arts & Crafts Movement together. To realize this double goal, he produced kinds of decorative arts and household goods as the colorist artist- aesthete entrepreneur.

Seven Easy Pieces, the performances that Marina Abramović had shown at Guggenheim Museum in November, 2005 gathered attentions for she represented the performances that had been in 1960s and 70s by the artists herself and her colleagues on those term. The complex meaning of the title, Seven Easy Pieces was enough to make an issue. It contained the meaning of the musical concept and the slogan of the designer Donna Karen simultaneously and showed the performances of 1960's and 70's every night during a week. This show included and presented as follows, Bruce Nauman's Body Pressure(1974), Vito Acconci's Seedbed(1972), VALIE EXPORT's Action Pants: Genital Panic(1968), Gina Pane's The Conditioning(1973), Joseph Beuys' How to explain pictures to a Dead Hare?(1965), her own performance Lips of Thomas(1975) and Entering the Other Side(2005) at the last night.This show was progressing with the performance biennale 'Performa05', at the same time but was not a part of it. However, there is the major significance that Guggenheim made agreement with Abramović to make the performance art meaningful. Also it looked like going together with the meaning of 'Performa05' that Abramović chose the performances during 1960s and 70s when the performance arts have animated. Though, we should consider that the purpose of Seven Easy Pieces was really in remembering the early performances just like she had chosen. Because It had too many interesting points.First, Abramović asked to the major artists in 1960 and 70 the permissions to re-perform their works or paid for copyrights to progress her show. In this pregress, Chris Burden refused to let his work, Trans-Fixed(1974) perform again by Abramović, and Guggenheim denied to re-perform Abramović's Rhythm0(1974). This was the unheard-of thing in the re-performance some works. So, it could be understood as because the performance art was shown in 'the present', in 'the museum', consequently Abramović had to accept the conditions of 'time' and 'space'.Second, there were lots of differences between the original performances and Abramović's re-performances in Seven Easy Pieces. Actually it is not possible to revive the original works as those were, but Seven Easy Pieces is worthy of notice that Abramović adapted the original things. This can be explained by residing in that Abramović couldn't experience the real scene at that time and she planed this show only depending on the documents. And this point can occur the problems of the relationship between the original performance, the documents, and the re-performance based on the documents.Therefore this study set up the purpose to shape up Abramović's intention and the meaning of the re-performance with investigating the re-performed works in Seven Easy Pieces.