• Journal of the Economic Geographical Society of Korea
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• v.18 no.4
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• pp.556-572
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• 2015

Since the late 1990s dualistic spatial structure has been configurated in Icheon ceramic industrial space due to the articulation of transmitted ceramics space rooted from imitating the Goryeo and Joseon ceramics and contemporary ceramics space based on academic ceramic arts. Therefore, the main purpose of this paper is to identify the formation of dualistic space in Icheon by investigating the development paths of ceramic industry in historical perspectives and analyzing inter- and extra-firm relations in Icheon. The main results of this research are as follows. Firstly, the development path of transmitted ceramics has declined gradually, while the development path of contemporary ceramics has been embedded in Icheon region. Secondly, the research pointed out that networks of transmitted ceramics and contemporary ceramics are different in the perspectives of inter-firm and extra-firm relations. Thirdly, the government has played a critical role as a financial and administrative supporter and as a network broker between university and Icheon ceramic firms(mainly with transmitted ceramics) for technological cooperation and collaborative R&D.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.393-394
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• 2019

본 연구는 자연주의 이론을 근거로 도예 벽화 창작 속 4가지 평가 요소를 정리했다. 아름다움, 기능성, 생태성, 상징성을 통해 중국 도예 벽화의 대표 인물 주러겅(朱?耕)의 작품을 분석했으며, 결과는 아래와 같다: 이러한 자연주의 스타일 작품은 뛰어난 미적 가치를 가지며, 인본주의 표현방식은 사람들에게 자연에 돌아온 느낌을 주어 자연과의 관계를 다시 생각하게 만든다. 자연주의는 도예벽화에서 기능성과 생태성으로 나타나며, 환경과 공간의 새로운 의미를 끊임없이 재정의할 뿐만 아니라, 도예벽화의 새로운 발전의 길을 제시한다.

• Journal of the Korea Convergence Society
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• v.13 no.4
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• pp.227-232
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• 2022

This thesis studies and analyzes the performative expression and meaning of ceramic performance art in the diversifying contemporary ceramic art. Therefore, after analyzing the ceramic performance works of Miquel Barcelό, Josef Nadj, Kang-hyo Lee, Teri Frame, and J. J. McCracken, I tried to find out the performativity and effectiveness of the performance. As a result of the study, the ceramic performance shows the expandability beyond the expression form and production process shown in general ceramic artworks through physical actions using clay. In addition, the real-time performance of the actor is a process embodiment of creating an event, and the open structure in which the artist and the audience relate to each other enables interpretation and understanding in a different way than before. Convergence attempts with other media imply borderlessness in contemporary ceramics and show the possibility of expanding into new field. This is expected to have a positive impact that breaks the ideological frame of the ceramic arts field, which has strong craft characteristics.

• Journal of Industrial Convergence
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• v.22 no.1
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• pp.41-54
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• 2024

Contemporary ceramic art as a new art form, how to convey the visual information of contemporary ceramic art works to the audience through the design and display of exhibition space is the primary problem of exhibition space design. Based on the current lack of research on contemporary ceramic art exhibition space design, this study focuses on the characteristics of contemporary ceramic art exhibition space design, in order to achieve the best exhibitions effect of contemporary ceramic art. Firstly, summarize the previous research and examine the "Spirit of Porcelain" -2021 Jingdezhen International Ceramic Art Biennial Exhibition held by the Art Museum of Jingdezhen Ceramic University. From the perspective of human factors engineering, combined with comparative analysis of the overall spatial layout and display space form, the scientific unity of the overall layout of the display space and the flexibility and sustainability of the exhibition space form design are obtained. The theoretical knowledge obtained in this study provides theoretical guidance and important practical significance for the design of contemporary ceramic art exhibition spaces; Simultaneously contributing to the development of contemporary ceramic art exhibition space design in China and even globally.

• Archives of design research
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• v.20 no.3 s.71
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• pp.179-190
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• 2007

Lucie Rie as an individual ceramist in terms of contemporary meaning was influenced by early 20th century's academic education and the ideology of modern formative arts. Modernity in her ceramic works has had a dramatic exert on numerous potters. Also, she is highly required to be studied in the history of modern pottery as a potter who took the initiative of studio pottery by the individual artistic handicraft. This paper considered an analysis of characteristics and techniques of 20C Modernistic ceramist Lucie Rie's works and activities. The body of this research investigated classification by chronicles and stylistic characteristics of her activity in the background of early 20th century European Modernism which influenced her formative arts. In addition, this article attempted to build up more specific comprehension on Lucie Rie's works and production process through an analysis of her techniques and artistic know-how..

• Journal of Digital Convergence
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• v.19 no.7
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• pp.303-312
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• 2021

The Possibility of contemporary ceramics creation through the convergence of materials In modern society, the creation of new values through convergence is emerging as a new trend. Modern potters are also trying to expand a new concept of art by combining various materials with other media. In craft, materials are essential and the most fundamental elements of expression. Therefore, from the viewpoints of various fusions, the significance of the fusion between materials will be explored. Also, focusing on paperclay, which is the most likely to be transformed material, we explore creative possibilities in the process of producing materials and works. Chapter 2 presents the concept and significance of fusion and material properties, and introduce the trend of fusion used in contemporary ceramics as material expression. In Chapters 3 and 4, characteristics and possibilities are examined through paper clay production and presentation based on the structure of the previous analysis. As a result, it is intended to present the direction that modern ceramics should pursue through a fusion phenomenon such as bonding between materials in the future and to explore potential possibilities for development.

• Journal of the Korea Convergence Society
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• v.12 no.4
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• pp.151-159
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• 2021

The purpose of this study is to attempt a convergent study by analyzing modern funk ceramic artworks through 'Irony', which was mainly used in rhetoric and literature. The irony has come to modern times and has embraced the type of irony by Jung Keut-Byul, a literary critic who has discovered that the classifications and definitions are different from each other, and who has solved these problems and has newly classified the irony (the irony of oxymoron, the irony as a counterstatement, the irony of dramatic turn, the irony as a poetic truth) as a framework for analyzing the works of 20th century punk potters. As a result, the formative language found in funk ceramic art had many similarities with the irony of duality of surface and reality, and its humorous and comic character was more prominent than the heavy, melodramatic tone shown in literature. It was also found that the media characteristics and craft properties of ceramic art, such as clay and glaze, have become the drivers for ceramic sculptors to draw attention in funk art.

• 주택과사람들
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• s.193
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• pp.50-53
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• 2006

도예의 경계를 무너뜨리고 흙을 이용해 새로운 예술 장르를 개척한 홍익대학교 미술대학장 신상호 교수. 그는 다른 이들이 발견하지 못한 가능성을 끌어내고 끊임없이 새로운 것을 만들어내는 자유로운 예술가다. 흙내음 물씬 풍기는 자연에 취한 신상호 교수의 삶과 공간을 만나본다.

• Ceramist
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• v.1 no.1
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• pp.53-57
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• 1998

• Korean Architects
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• no.2 s.406
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• pp.22-29
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• 2003