The chaotic brilliance of artist Jean-Michel Basquiat - Jordana Moore Saggese

1,156,395 views ・ 2019-02-28

TED-Ed


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: Minah Cho κ²€ν† : Jihyeon J. Kim
00:07
A sky blue canvas ripped open by an enormous skull.
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κ±°λŒ€ν•œ λ‘κ°œκ³¨μ΄ 그렀진 찒어진 ν•˜λŠ˜μƒ‰ μΊ”λ²„μŠ€ ν•˜λ‚˜κ°€ κ³΅κ°œλ˜μ—ˆμŠ΅λ‹ˆλ‹€.
00:11
Teeth bared through visceral slashes of oil and spray-paint.
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μΉ˜μ•„μ— 기름, μŠ€ν”„λ ˆμ΄ 페인트의 길게 베인 μƒμ²˜κ°€ λ“œλŸ¬λ‚˜ μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
00:15
In 2017,
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2017년에,
00:16
this untitled artwork was auctioned off for over 110 million dollars.
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이 이름 μ—†λŠ” μž‘ν’ˆμ€ μ•½ 1μ–΅ 천만 λ‹¬λŸ¬λ₯Ό μ›ƒλ„λŠ” 가격에 λ‚™μ°°λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
00:22
But it’s not the work of some old master.
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ν•˜μ§€λ§Œ κ·Έ μž‘ν’ˆμ˜ 주인듀은 λ‚˜μ΄ λ§Žμ€ μ‚¬λžŒλ“€μ΄ μ•„λ‹ˆμ—ˆμŠ΅λ‹ˆλ‹€.
00:25
These strokes of genius
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이런 λ†€λžκ³  천재적인 μž‘ν’ˆμ€
00:26
belong to 21 year old black Brooklynite Jean-Michel Basquiat –
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21μ‚΄μ˜ 흑인 브루클린 μ‚¬λžŒ μž₯-λ―Έμ…Έ λ°”μŠ€ν‚€μ•„μ˜ μ†Œμœ κ°€ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
00:31
one of America’s most charismatic painters,
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λ―Έκ΅­μ—μ„œ κ°€μž₯ 카리슀마 μžˆλŠ” ν™”κ°€ 쀑 ν•œ λͺ…이기도 ν•˜λ©°,
00:33
and currently, its highest sold.
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ν˜„μž¬, κ°€μž₯ λΉ„μ‹Έκ²Œ νŒ”λ¦° μƒνƒœμž…λ‹ˆλ‹€.
00:36
Born in 1960 to a Haitian father and a Puerto Rican mother,
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κ·ΈλŠ” 1960년에 아이티인 아버지와 푸에λ₯΄ν† λ¦¬μ½”인 μ–΄λ¨Έλ‹ˆ μ‚¬μ΄μ—μ„œ νƒœμ–΄λ‚˜,
00:39
Basquiat spent his childhood making art and mischief in Boerum Hill.
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μ–΄λ¦° μ‹œμ ˆμ„ 보름 νžμ—μ„œ 예술 μž‘ν’ˆμ„ λ§Œλ“€κ³ , μž₯λ‚œμ„ 치며 λ³΄λƒˆμŠ΅λ‹ˆλ‹€.
00:43
While he never attended art school,
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κ·ΈλŠ” ν•œ λ²ˆλ„ μ˜ˆμˆ ν•™κ΅μ— λ‹€λ‹ˆμ§€ μ•Šμ•˜μ§€λ§Œ,
00:45
he learned by wandering through New York galleries,
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μ—¬λŸ¬ λ‰΄μš•κ°€λŸ¬λ¦¬λ₯Ό 기웃거리며 λ°°μ› κ³ ,
00:47
and listening to the music his father played at home.
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μ§‘μ—μ„œ 그의 μ•„λ²„μ§€μ˜ μŒμ•…μ„ λ“€μœΌλ©° 배울 수 μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
00:50
He drew inspiration from unexpected places,
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κ·ΈλŠ” μ˜ˆμƒμΉ˜ λͺ»ν•œ μž₯μ†Œμ— 감λͺ…λ°›μ•„ 그림을 κ·Έλ Έκ³ ,
00:53
scribbling his own versions of cartoons, comic books and biblical scenes
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아버지 사무싀에 μžˆλŠ” μŠ€ν¬λž©μ§€μ˜ λ§Œν™”μ™€ μ„±κ²½ μž₯면을 보고
00:57
on scrap paper from his father’s office.
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κ·Έ 만의 λ…νŠΉν•œ λ§Œν™”λ₯Ό 휘갈겨 κ·Έλ ΈμŠ΅λ‹ˆλ‹€.
01:00
But it was a medical encyclopedia that arguably
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ν•˜μ§€λ§Œ λ°”μŠ€ν‚€μ•„μ—κ²Œ κ°€μž₯ 큰 영ν–₯λ ₯을 끼친 것은
01:02
exerted the most powerful influence on Basquiat.
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μ˜ν•™ λ°±κ³Όμ‚¬μ „μ΄μ—ˆμŠ΅λ‹ˆλ‹€.
01:06
When young Jean-Michael was hit by a car,
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μ–΄λ¦° λ°”μŠ€ν‚€μ•„κ°€ 차에 μΉ˜μ—ˆμ„ λ•Œ
01:08
his mother brought a copy of "Grey’s Anatomy" to his hospital bed.
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그의 μ—„λ§ˆλŠ” λ°”μŠ€ν‚€μ•„μ—κ²Œ 그레이의 ν•΄λΆ€ν•™μ΄λΌλŠ” 책을 κ°€μ Έμ™”μŠ΅λ‹ˆλ‹€.
01:12
It ignited a lifelong fascination with anatomy
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κ·ΈλŠ” 책을 톡해 해뢀학에 ν‰μƒμ˜ 맀λ ₯을 느꼈고
01:14
that manifested in the skulls, sinew and guts of his later work –
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그의 ν›„κΈ°μž‘ν’ˆμ—μ„œλŠ” μ’…μ’… λ‘κ°œκ³¨, νž˜μ€„, λ‚΄μž₯ 등을 λ‚˜νƒ€λ‚΄λŠ” ν•΄λΆ€ν•™κ³Ό κ΄€λ ¨λœ
01:18
which frequently explores both the power and vulnerability of marginalized bodies.
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μ†Œμ™Έλœ λͺΈμ— λŒ€ν•œ 힘과 취약성을 μ°Ύμ•„λ³Ό 수 μžˆμŠ΅λ‹ˆλ‹€.
01:23
By 17, he launched his first foray into the art world with his friend Al Diaz.
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17살에, κ·ΈλŠ” μžμ‹ μ˜ 친ꡬ μ•Œ λ””μ•„μ¦ˆμ™€ ν•¨κ»˜ λ―Έμˆ κ³„μ— μ²«λ°œμ„ λ‚΄λ””λŽ μŠ΅λ‹ˆλ‹€.
01:29
They spray painted cryptic statements and symbols all over Lower Manhattan,
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그듀은 λ‘œμ–΄ λ§¨ν•΄νŠΌ 전역에 μ•„λ¦¬μ†‘ν•œ 글귀와 상징듀을
01:33
signed with the mysterious moniker SAMO.
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κ΄΄μƒν•œ 이름 SAMO μ„œλͺ…κ³Ό ν•¨κ»˜ μŠ€ν”„λ ˆμ΄ 페인트둜 μΉ ν–ˆμŠ΅λ‹ˆλ‹€.
01:36
These humorous, profound, and rebellious declarations
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μ΄λŸ¬ν•œ 재치있고 μ‹¬μ˜€ν•œ λ°˜ν•­μ μΈ 외침은
01:39
were strategically scattered throughout Soho’s art scene.
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μ „λž΅μ μœΌλ‘œ μ†Œν˜Έμ˜ μ˜ˆμˆ κ³„ ꡬ석ꡬ석 ν©μ–΄μ‘ŒμŠ΅λ‹ˆλ‹€.
01:42
And after revealing himself as the artist,
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그리고 μ˜ˆμˆ κ°€λ‘œμ„œμ˜ 그듀이 λ“œλŸ¬λ‚œ ν›„,
01:44
Basquiat leveraged SAMO’s success to enter the scene himself;
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λ°”μŠ€ν‚€μ•„λŠ” SAMO의 영ν–₯λ ₯을 μ΄μš©ν•΄ 직접 μ˜ˆμˆ κ³„μ— λ›°μ–΄λ“€μ—ˆμŠ΅λ‹ˆλ‹€.
01:48
selling postcards, playing clubs with his avant-garde band,
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μ—½μ„œλ₯Ό νŒ”κ³  그의 μ•„λ°©κ°€λ₯΄λ“œ λ°΄λ“œμ™€ 클럽 ν™œλ™μ„ ν–ˆκ³ ,
01:51
and boldly seeking out his heroes.
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λŒ€λ‹΄ν•˜κ²Œ 그의 μ˜μ›…λ“€μ„ 찾아내기도 ν–ˆμŠ΅λ‹ˆλ‹€.
01:53
By 21, he’d turned to painting full time.
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21살에 κ·ΈλŠ” λͺ¨λ“  μ‹œκ°„μ„ νŽ˜μΈνŒ…ν•˜λŠ”λ° μŸμ•„λΆ€μ—ˆμŠ΅λ‹ˆλ‹€.
01:56
His process was a sort of calculated improvisation.
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그의 νŽ˜μΈνŒ… 과정은 고의적인 즉ν₯성에 두고 μžˆμŠ΅λ‹ˆλ‹€.
01:59
Like Beat writers
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λΉ„νŠΈ μž‘κ°€μ²˜λŸΌ
02:00
who composed their work by shredding and reassembling scraps of writing,
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κΈ€μ˜ κ΅¬μ ˆμ„ μž¬λ°°μ—΄ν•˜κ³  μ‘°ν•©ν•΄ μž‘ν’ˆμ„ κ΅¬μ„±ν–ˆμœΌλ©°
02:03
Basquiat used similar cut-up techniques to remix his materials.
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μžμ‹ μ˜ μž‘ν’ˆμ„ λ¦¬λ―ΉμŠ€ν•˜κΈ° μœ„ν•΄ λΉ„μŠ·ν•œ μ»· μ—… 기법을 μ‚¬μš©ν–ˆμŠ΅λ‹ˆλ‹€.
02:07
When he couldn't afford canvases,
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κ·Έκ°€ μΊ”λ²„μŠ€λ₯Ό μ‚΄ ν˜•νŽΈμ΄ μ•ˆλ˜μ—ˆμ„ λ•Œ,
02:09
he fashioned them out of discarded wood he found on the street.
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κ·ΈλŠ” 길에 버렀진 λ‚˜λ¬΄ 쑰각으둜 μΊ”λ²„μŠ€λ₯Ό λ§Œλ“€μ—ˆμŠ΅λ‹ˆλ‹€.
02:12
He used oil stick, crayons, spray paint and pencil
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κ·ΈλŠ” 기름 μŠ€ν‹±, 크레용, μŠ€ν”„λ ˆμ΄ 페인트, 연필을 μ‚¬μš©ν–ˆκ³ ,
02:16
and pulled quotes from the menus, comic books and textbooks
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메뉴, λ§Œν™”, μ±…μ—μ„œ 인용ꡬλ₯Ό λ”°μ™”μŠ΅λ‹ˆλ‹€.
02:19
he kept open on the studio floor.
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이런 책듀은 κ·Έκ°€ μŠ€νŠœλ””μ˜€ λ°”λ‹₯에 νŽΌμ³λ‘” κ²ƒμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
02:22
He kept these sources open on his studio floor,
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κ·ΈλŠ” μžμ‹ μ˜ μŠ€νŠœλ””μ˜€ λ°”λ‹₯에 μ΄λŸ¬ν•œ μ†Œμž¬λ₯Ό 계속 놓아두고,
02:24
often working on multiple projects at once.
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μ’…μ’… ν•œ λ²ˆμ— μ—¬λŸ¬ μž‘ν’ˆμ„ λ§Œλ“€μ–΄ λƒˆμŠ΅λ‹ˆλ‹€.
02:27
Pulling in splintered anatomy, reimagined historical scenes,
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λΆ„λ¦¬λœ ν•΄λΆ€ν•™κ³Ό 재창쑰된 역사적 μž₯λ©΄, λ‘κ°œκ³¨μ„
02:31
and skulls transplanted from classical still-lives,
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고전적인 μ •λ¬Όν™”λ‘œ νƒˆλ°”κΏˆμ‹œμΌ°μŠ΅λ‹ˆλ‹€.
02:34
Basquiat repurposed both present day experiences and art history
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λ°”μŠ€ν‚€μ•„λŠ” μ˜€λŠ˜λ‚ μ˜ κ²½ν—˜κ³Ό μ˜ˆμˆ μ—­μ‚¬λ₯Ό
02:38
into an inventive visual language.
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독창적인 μ‹œκ°μ  μ–Έμ–΄λ‘œ μž¬μ°½μ‘°ν•˜μ˜€μŠ΅λ‹ˆλ‹€.
02:41
He worked as if inserting himself into the legacy of artists he borrowed from,
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κ·ΈλŠ” 마치 μ˜ˆμˆ κ°€μ˜ μœ μ‚°μ— μžμ‹ μ΄ λ“€μ–΄κ°„ κ²ƒμ²˜λŸΌ μž‘ν’ˆμ„ λ§Œλ“€λ©΄μ„œ,
02:45
producing collages that were just as much in conversation with art history
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λ―Έμˆ μ‚¬μ— λŒ€ν•œ 이해λ₯Ό 많이 ν•¨μœΌλ‘œμ¨ 콜라주λ₯Ό λ§Œλ“€μ–΄ λƒˆμŠ΅λ‹ˆλ‹€.
02:48
as they were with each other.
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λ˜ν•œ, μ˜ˆμˆ κ°€μ™€ λ―Έμˆ μ‚¬μ˜ 관계λ₯Ό μ΄ν•΄ν–ˆμŠ΅λ‹ˆλ‹€.
02:50
For instance, "Toussaint L’Overture versus Savonarola"
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예λ₯Ό λ“€μ–΄, "μ‚¬λ³΄λ‚˜λ‘€λΌ μͺ½μœΌλ‘œ ν–₯ν•œ 였베λ₯΄νŠ€λ₯΄"와
02:54
and "Undiscovered Genius of the Mississippi Delta"
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"λ―Έμ‹œμ‹œν”Ό μ‚Όκ°μ£Όμ˜ 베일에 싸인 천재"λŠ”
02:57
offer two distinct visions of Basquiat’s historical and contemporary concerns.
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그의 μ—­μ‚¬μ μœΌλ‘œ μ€‘μš”ν•˜κ³  λ™μ‹œλŒ€μ μΈ κ΄€λ…μ˜ λšœλ ·ν•œ 두 개의 비전을 μ œκ³΅ν•©λ‹ˆλ‹€
03:01
But they echo each other in the details,
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ν•˜μ§€λ§Œ 그듀은 μ„œλ‘œμ˜ μ˜κ²¬μ„ κ·Έλž˜λ„ λ°˜μ˜ν•©λ‹ˆλ‹€.
03:04
such as the reappearing head that also resurfaces in "PPCD."
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예λ₯Ό λ“€μ–΄, PPCDμ—μ„œλ„ λ‹€μ‹œ λ‚˜νƒ€λ‚˜λŠ” λ¨Έλ¦¬μž…λ‹ˆλ‹€.
03:08
All these pieces form a network that offers physical evidence
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μ΄λŸ¬ν•œ λͺ¨λ“  윑체적 증거λ₯Ό μ œκ³΅ν•˜λŠ” λ„€νŠΈμ›Œν¬μ˜ 쑰각듀은
03:11
of Basquiat’s restless and prolific mind.
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λ°”μŠ€ν‚€μ•„μ˜ λΆˆμ•ˆν•˜κ³  ν˜Όλž€μŠ€λŸ¬μš΄ λ§ˆμŒμ—μ„œ λΉ„λ‘―λœ κ²ƒμž…λ‹ˆλ‹€.
03:14
These chaotic canvases won rapid acclaim and attention.
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이 ν˜Όλž€μŠ€λŸ¬μš΄ μž‘ν’ˆλ“€μ€ λΉ λ₯΄κ²Œ λͺ…성을 μ–»κ³ , 이λͺ©μ„ μ§‘μ€‘μ‹œμΌ°μŠ΅λ‹ˆλ‹€.
03:17
But despite his increasingly mainstream audience,
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κ·ΈλŸ¬λ‚˜ 점점 μ£Όλ₯˜μ˜ 관쀑듀이 λŠ˜μ–΄λ‚¨μ—λ„ λΆˆκ΅¬ν•˜κ³ ,
03:19
Basquiat insisted on depicting challenging themes
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κ·ΈλŠ” 정체성과 얡압을 주제둜
03:22
of identity and oppression.
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λ¬˜μ‚¬λ₯Ό μ‹œλ„ν•˜λŠ” 데에 μ§‘μ€‘ν–ˆμŠ΅λ‹ˆλ‹€.
03:24
Marginalized figures take center stage, such as prisoners, cooks and janitors.
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μ£„μˆ˜, μš”λ¦¬μ‚¬, 관리인 λ“± μ†Œμ™Έλœ 인물듀이 쀑심이 λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
03:29
His obsession with bodies, history, and representation
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신체와 역사 λ¬˜μ‚¬μ— λŒ€ν•œ 그의 집념은
03:32
can be found in works evoking the Atlantic slave trade and African history,
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λŒ€μ„œμ–‘μ˜ λ…Έμ˜ˆλ¬΄μ—­κ³Ό 아프리카 역사λ₯Ό ν™˜κΈ°ν•˜λŠ” κ²ƒλΏλ§Œ μ•„λ‹ˆλΌ
03:36
as well as pieces focusing on contemporary race relations.
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ν˜„λŒ€ 인쒅 관계에 쀑점을 λ‘” μž‘ν’ˆμ—μ„œλ„ μ°Ύμ•„λ³Ό 수 μžˆμŠ΅λ‹ˆλ‹€.
03:40
In less than a decade,
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10λ…„ μ’€ 전에,
03:42
Basquiat made thousands of paintings and drawings-
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λ°”μŠ€ν‚€μ•„λŠ” μ²œμ—¬ 개의 νŽ˜μΈνŒ…κ³Ό 그림을 κ·Έλ Έκ³ 
03:44
along with sculpture, fragments of poetry and music.
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κ°€λ‚œκ³Ό μŒμ•…μ˜ 건물, ν”„λ ˆμž„κ³Ό ν•¨κ»˜
03:47
His output accelerated alongside his meteoric rise to fame,
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그의 μ„±μ·¨λŠ” λͺ…μ„±κ³Ό ν•¨κ»˜ κ°€μ†λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
03:51
but his life and work were cut tragically short
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ν•˜μ§€λ§Œ 그의 μ‚Άκ³Ό μž‘ν’ˆμ€ λΉ„κ·Ήμ μœΌλ‘œ 짧게 λλ‚¬μŠ΅λ‹ˆλ‹€.
03:54
when he died from a drug overdose at the age of 27.
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κ·ΈλŠ” 27살에 μ•½λ¬Ό κ³Όλ‹€λ³΅μš©μœΌλ‘œ μ‚¬λ§ν–ˆμŠ΅λ‹ˆλ‹€.
03:57
After his death, Basquiat’s work only increased in value-
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그의 죽음 이후에, λ°”μŠ€ν‚€μ•„μ˜ μž‘ν’ˆμ€ κ°€μΉ˜κ°€ μƒμŠΉν•  뿐
04:01
but the energy and flair of his pieces
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μž‘ν’ˆμ˜ μ—λ„ˆμ§€μ™€ 재λŠ₯은
04:03
have impacted much more than their financial worth.
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물질적 κ°€μΉ˜λ³΄λ‹€ 훨씬 더 영ν–₯을 μ€˜μ™”μŠ΅λ‹ˆλ‹€.
04:06
Today, his influence swirls around us in music, poetry, fashion and film-
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μ˜€λŠ˜λ‚ , 그의 영ν–₯λ ₯은 우리 μ£Όλ³€μ˜ μŒμ•…, μ‹œ, νŒ¨μ…˜, μ˜ν™”μ— μ†Œμš©λŒμ΄μ²˜λŸΌ 남아
04:11
and his art retains the power to shock, inspire, and get under our skin.
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그의 μž‘ν’ˆμ€ μ—¬μ „νžˆ μ†Œλ¦„ λ‹λŠ” μš°λ¦¬μ—κ²Œ 좩격과 감λͺ…을 μ•ˆκ²¨μ€λ‹ˆλ‹€.
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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