현대미술에서 가족사진 작품의 제시 방식과 감정 전달에 관한 연구

초록

This study defines family photography not as a simple recording medium but as a relational practice that generates and sustains family emotions. Beginning with the experience of the absence of a personal family album, the research explores how family emotions are evoked and constructed through photographs, focusing on artist-led family photography projects developed within the context of contemporary art. Theoretical discussions suggest that family photographs should be understood not merely as images that represent the past, but as media that activate emotions through collective viewing, narration, and repeated rearrangement. Accordingly, family emotions are regarded not as fixed entities but as processes that are continuously formed through practice. This study examines family emotions through three dimensions—belonging, intimacy, and cohesion—using literature review, case studies, and image analysis. The findings reveal that belonging emerges through the rearrangement of images and autobiographical narratives, enabling individuals to locate themselves within family relationships. Intimacy is expressed through bodily distance, gaze, and spatial composition, and appears as a relational emotion shaped through interaction. Cohesion is produced through the repetition of group portraits and the accumulation of time, transforming personal memories into collective memories and visualizing familial continuity. Furthermore, family photography functions as a medium that communicates emotions and extends private experiences into public contexts through the cyclical processes of revisiting, narration, re-editing, and repetition. Through exhibitions and publications, personal experiences are transformed into social discourse, creating a form of “intimate publicness.” Ultimately, family photography operates not merely as an image that represents emotion but as a site of practice that generates and shares emotion. This study reinterprets family photography from the perspective of emotional production and proposes an analytical framework for understanding the relationship among family, emotion, and images.

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