• Title/Summary/Keyword: 미술이론

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On the field of domestic studies on Western Art History and Western Art Theory (국내 서양미술사, 서양미술이론 연구 장에 관한 연구)

  • Shim, Sang-Yong
    • The Journal of Art Theory & Practice
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    • no.2
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    • pp.75-120
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    • 2004

  • Studies on western art in Korea has been caught in a dilemma that they could deal with only those things which had been arranged according to their 'historical generalization' in their contexts because of the bounds of time and space. It is not trivial that such conditions affect art studies in Korea. Access to the original texts and to their contexts of production is so restricted that the studies on them are prone to he superficial. And it is not independent on the politics of Korean art scene. Such factors are on the background of Korean art's excessive 'assimilation or accordance' with western art. The domestic studies on western art history and art theory have failed to notice the differences in context and Korean art has simply mediated or reproduced the restricted information by those studies. Also the studies on western art in Korea have been made use of as a justifying method of one's own academic domains. In such situations we should lead the studies on western art history and western art theory to a more reflective direction and confirm that the studies should not have any privileges of the realities. And we should try to reform a scholarship which participates in our life and existence. The field of domestic studies on western art history and western art theory should free itself from the invention of objectivity or the neutrality of mechanical reading and turn its eyes to the realities of life where events happens. Constantly suggesting which way Korean art and world art should go has to be the field's new coordinates.

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Politics of Game and Play: New Media-Based Art and Its Community (놀이의 정치학: 뉴미디어 아트와 관객 공동체)

  • Lee, Hye-Won
    • The Journal of Art Theory & Practice
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    • no.10
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    • pp.105-118
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    • 2010

  • This study discusses the community of participants in new media-based art of Taeyoon Choi, Wafaa Bilal and Mushon Zer-Aviv in relation to current discourses on social functions of art by Nicolas Bourriaud and Jacques Ranciere. Focusing on these artists' participatory projects which aim to provide alternative perspectives on wars between countries, to raise awareness about expanding surveillance systems in city spaces, or to create new public spaces on the web, this paper argues that their works hybridize entertainment culture and political activism to suggest a new model for political art.

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The Future and Prospects of NFT Art : On the basis of Actor-Network Theory (NFT 아트의 미래와 전망 : 행위자네트워크 이론을 중심으로)

  • Cheon, Mi Lim;Kim, Hong Kyu
    • 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.

  • https://doi.org/10.17703/JCCT.2022.8.4.397 인용 PDF KSCI

Up the Street: Mario Radice and Cesare Cattaneo's Camerlata Fountain 1935-2010 (길 위에서: 마리오 라디체와 체자레 카타네오의 카멀라타 분수 1935-2010)

  • White, Anthony
    • The Journal of Art Theory & Practice
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    • no.10
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    • pp.7-23
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    • 2010

  • In this paper I examine Cesare Cattaneo and Mario Radice's Camerlata Fountain in northern Italy, focusing on the work's relation to the urban environment and its "mobility" over several decades. As I demonstrate, the design of Cattaneo and Radice's work relates to the circular layout of a traffic intersection and was intended to be viewed from the window of a moving automobile. In this way it continues a tradition, begun by the Futurists and continued by Le Corbusier, who saw the car as central to modern art and architecture. Moreover, the work relates to the concept of mobility in so far as it was in itially built in 1936 in Milan and subsequently destroyed and reconstructed during 1962 in its current location near Como. As the history of the work's conception, production and reception demonstrates, Cattaneo and Radice's work not only responds to the experience of vehicle-generated mobility in modern society but also reveals the tensions and anxieties associated with an increasingly dynamic urban environment.

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