현대 미술의 문맥에서 사진은 매체적 특징인 복제와 인덱스 특성을 통해 모더니즘 의 원본성과 독창성을 부정하며 포스트모더니즘 미술의 중심적 매체로 등장하게 되었 다. 사진 인덱스 이론은 이러한 사진의 현대성을 이론적 근거로 밝힘으로써 사진에 대한 단순한 이론을 넘어 현대미술 작품의 개념적 원리를 설명하는 근거로서 후기구조주의적 담론의 중심에 서게 되었다. 이러한 맥락에서 포스트모더니즘 작가들의 적 극적인 사진 활용은 현대 미술에서의 사진이 갖는 중요한 의미를 시사하고 있다. 일 찌기 사진의 개념적 특징에 주목하였던 마르셀 뒤샹(Duchamp, M.)을 시작으로 현대 미술에서의 사진의 활용은 1950년대 중반부터 등장한 팝아트를 거치면서 본격화되었 다. 특히 사진의 복제성은 대중 매체적 이미지 환경에 주목하였던 팝아트가 강조한 개념과 형식의 중요한 요소로서 복제이미지 환경을 반영하는 기제가 되었다.
This thesis aims to elucidate my work’s pictorial connotation and expressive possibility through an analysis of the content and form of my reproduced images, focusing on the features of the duplicability and indexicality of images. The primary direction of this study highlights the meaning and structure of my work in reference to the fundamental properties of photography employed in contemporary art. Based on the examination of the photo-index theory addressing photographic duplicability and indexicality, I analyze the main content and form of my work. Through this process, I intend to clarify how the thematic, plural meaning of time appears in my work’s structure. Photography today in the context of contemporary art has emerged as a pivotal medium in postmodernism art, turning away from the concept of originality in modernism through its features of duplicability and indexicality. The photo-index theory has been in the center of postmodernism discourse as the basis for expounding the conceptual principle of contemporary artworks, by discovering the theoretical ground of photography’s modernity. The aggressive use of photographs by postmodernism artists in this context signifies a critical meaning of photography. My concern with photography, based on the objective way of visual perception is about the pictorial possibility of an indexical trait derived from the physical properties of photography. A photographic index is a sort of symptomatic mark or trace indicating time, appearing through an effort to fix time. In this sense, my work with reproduced images demonstrates an exploration of the meaning of the everyday, interpreting daily life through the continuity and discontinuity of time, using the indexical traits of photographic reproduction. A chronicle of past time is one of the fundamental characteristics of photography. This temporality expands ontological meaning in the interpretation of the everyday. My intention to discover the meaning of the everyday is