• Korean Association of Arts Management
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• no.56
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• pp.189-215
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• 2020

This study aims to understand the process of valuing contemporary artworks by young and emerging artists via online art platforms. This paper conceptualizes Bourdieu's theory of cultural capital, which theoretically guides us for conducting a case study of Saatchi Art. This article mainly collected data by interviewing seven Korean artists who were selected by our case with the supplement information carried out direct observation and document reviews. By analyzing the gathered data, the key finding of this research is that the selection of artists in Saatchi Art's curatorial program implicitly admits and guarantees the value of their artworks. By doing so, it contributes to building symbolic capital for the selected artists. This article also contends that such construction of the artists' symbolic capital results from the accumulated symbolic capitals of the founder and curator of the online platform. The theoretical contribution of this paper is to expand previous research on valuing artworks in the offline art world into the online one.

• 주택과사람들
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• s.220
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• pp.96-97
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• 2008

2006년 2월, 뉴욕 소더비 경매에서 에드워드 스타이켄의 1904년작 <연못과 달빛>이 사진 작품으로서는 세계 최고가인 30억 원에 판매됐다. 그러고는 이듬해 2월, 안드레 구르스키의 2001년작 <99센트 II>가 런던 소더비에서 약 34억 원에 팔리며 이전 기록을 갱신했다. 불과 1년 사이 생겨난 이 기록들은 미술 시장에서 사진의 위치가 급부상하고 있음을 보여주는 상징적인 사건으로, 두 작품의 제작 시기가 거의 100년 가까이 차이가 난다는 점에서 많은 시사점을 준다.

• Journal of the Economic Geographical Society of Korea
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• v.16 no.1
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• pp.118-134
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• 2013

This paper analyzes the pubic nature of New Genre Public Arts. It is very sensitive to the social issues and supports democracy and communities with the diverse civic participation. Therefore, it is be widely known without doubt that new genre public arts is more public in nature compared to the previous public arts. This research observes the practices of new genre public art and focuses on the problems of the revealing nature of new genre public art through the analysis of the interrelations among government, artists, and the residents by through observation on the , Seoul City Gallery project from October 2008 to January 2009. The implementation of the project is divided into three constituent parts: local government for funding, artists for planning and implementing, and residents. Local government supports and commands the public art works to create more competitive and harmonious city. Artists emphasize the revitalization of community and take the residents as the passive objects of enlightenment. Whereas, the residents hope to use the funds to improve economic conditions. Artists accept the top-down commands of government, whereas residents tend to passively participate and become objects for enlightenment by artists, after all, might be alienated by the project. These kinds of communications and relationships raise the issue of the possibility of failure of public arts projects.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.10
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• pp.4432-4439
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• 2012

Previous studies on art pricing mostly focused on auction data because of the limitation of non-auction market data. This study investigated on both auction and non-auction markets to see the difference in art pricing mechanisms of both markets. Especially, while prior hedonic models included only quantatative variables to predict art prices, we added a qualitative measure, artistic value of a artwork, along with the original hedonic model to develop a more comprehensive model, and tested if his change may make more precise predictions. As a result, when we did not divide our data into auction and non-auction groups, we did not find any significant difference between the original hedonic model and the new model including artistic value. However, when we separated non-auction group from auction group, we found that predicted prices in the new model showed significantly closer values to the actual prices. This study contributes to our knowledge on art pricing by showing that artistic value may have important but differential impacts on different art dealing channels.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.397-405
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• 2022

NFT art is a new art formed based on NFT technology. This is attracting great attention in the existing art world and art market. Therefore, it is required to analyze whether NFT art can establish itself as a new area of art. Therefore, the formation and development process of NFT art is analyzed from the perspective of Actor-Network Theory of Science and Technology and Studies, and the case of NFT artist 'beeple' is a representative example. It also discusses the artistic value of NFT art and its relationship with traditional art networks based on the aesthetics of science and technology researcher Graham Harman. In particular, it analyzes the future and genre sustainability of NFT art through the case of NFT project "Cryptopunks" and "PUNKISM" advocating a new art genre. By analyzing NFT art with ANT, I would like to raise a technical, aesthetic, and philosophical questions and propose a positive prospect as a new art genre.

• Digital Contents
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• no.2 s.129
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• pp.162-163
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• 2004

세계적인 명화 120점을 국내 디지털기술로 재현해 전시를 펼쳐‘뜨거운 감자’가 된 기업이 있다. 엠앤제이코퍼레이션은 디지털이미지 프린팅 응용기술을 개발해 서양미술사의 대표작들을 색감과 질감을 그대로 복제해 내 디지털콘텐츠 산업의 새로운 시장 가능성을 입증시켰다며 주목을 받고 있다.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.70-85
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• 2011

The study of the modern art market and distribution differs in its research focus from that of traditional art history, which traces and analyzes the works of master artists, their schools and influence, in that it attempts to approach such issues as art and society, and distribution and consumption of works of art, based on new research methods and perspectives. This paper examines the life and art collection activities of Park Yeong-cheol, considered to be one of the earliest major modern Korean art collectors. He graduated from the Japanese military academy and served as both a solider of the Greater Korean Empire and a high level officer of the Japanese army. After being discharged, he served as Governor of Gangwon-do and then Hamgyeongbuk-do, and after his retirement from public office, he became a leading businessman. He is well-known as a Japanese sympathizer who approved of and advocated for the aggressive colonial policies of the Japanese empire. As a cultural enthusiast and art collector, however, Park Yeong-cheol published the most accurate edition of Yeonamjip, and donated his collection to Geyongseong University at the end of his life, thus providing the foundation for the Seoul National University Museum. All of these activities are highly commendable. His interest in growing his collection of paintings and calligraphies was largely motivated by his love of paintings and Chinese poems,but it also appears to have been the result of his active collaboration with the Japanese government's policy of trying to discover the distinct, non-western characteristics of traditional Eastern art.

• (The)Study of the Eastern Classic
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• no.41
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• pp.477-516
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• 2010

The Korean art history academia has lately been carrying out active research on the Korean art market and art collectors. This area of research is significant in that it attempts to overcome the limitations of previous research trends focused on tracing back and analyzing preeminent masters, their schools and their influence, and approach new subject matters such as art and society, circulation and consumption of art works, which were unapproachable with previous research methods. This paper examines the life, artwork and art collection activities of Songeun(松隱) Yi Byeong-jik(李秉直: 1896-1973), an outstanding painter, calligrapher and art collector during the Japanese colonial period. The primary purpose of this paper is to advance the research project the author has recently initiated on modern Korean art collectors by reconstructing parts of this major art collector's individual lifestyle and to generally identify the art collection activities and the art works that he kept. Yi Byeong-jik, one of the preeminent art collectors during the colonial period, disposed his voluminous collection through two auctions in 1937 and 1941, and then held another auction two weeks before the onset of the Korean War on June 25, 1950 to sell off the remaining works. It seems that the reason why Yi had auctioned off his collections was for the purpose of investing in education. The tale that Yi safely kept 'Sam-guk-yu-sa(三國遺事),' which is considered a national treasure, even through the time of turbulence is evidence of his exemplary behavior as a model art collector. He may be one of the best examples of what an art collector should be in terms of giving back to the society and preserving things of beauty and value. However, one factor that limited and defined Yi's life was that he was a eunuch. This aspect of his life could be pointed out as the biggest factor that stopped him from becoming a mainstream participant in the art world despite his influence as a great painter, calligrapher, significant art collector, and discerning connoisseur.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.14 no.4
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• pp.1582-1588
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• 2013

This study investigated whether artists' education level, college of graduation, and gender have any influences on artists' premium which leads to higher sales possibility and art price using Art Fair Market data. We found that artists' education level do not have statistically significant effects on either sales possibility or art price. But, artists' college of graduation which was measured by artists' undergraduate school level(high or low) has significant effects on both sales possibility and art price. Artists' gender also has a significant effect on art price, although it does not have any significant effect on sales possibility. These results imply that artists' educational level or degree does not exert significant impacts on artists' premium, while the level of college that artists attended indeed has a significant effect on artists' premium. They also imply that gender plays a role in Korean art market.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2016.05a
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• pp.197-200
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• 2016

한국에서 웹툰의 인기는 과거에 비교해 볼 때 점차 확대 되고 있고, 한국 만화 시장에서 웹툰의 성장률은 이미 출판만화의 성장률을 뛰어 넘고 있다. 한국 웹툰을 주로 애용하는 이용층은 10대에서 20대가 주를 이루고 있었으나 점차 아동층의 이용증가세가 눈에 띄고 있다. 과거부터 한국에서 아동용 교육용으로서 애니메이션과 아동미술의 접목은 많이 시도되어 왔고 많은 성공을 거두고 있으며 마켓쉐어 또한 굉장히 높은 편이다. 이 두 가지를 이용, 웹툰과 아동미술의 접목 또한 아동들에게 영향력이 있을 것이라 예상 하고 이 두 분야의 접목에 대해 긍정적인 부분과 부정적인 부분을 비교분석하여 발전 방향을 제시하고자 한다.