• Proceedings of the Korean Society for Information Management Conference
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• 1996.08a
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• pp.31-34
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• 1996

본 논문은 이용자지향그래픽인터페이스와 멀티미디어 환경을 지원해주는 인터넷상의 WWW(World Wide Web)를 이용하여 화상정보검색시스템을 구현하였다. 미술작품을 대상으로 미술정보의 특성을 고려하여 화상정보와 서지정보를 데이터화하였고 화상정보 검색시스템에 관한 이론적인 연구를 기반으로 하여 실제로 시스템을 구축함으로써 미래의 전자박물관 및 전자 미술관의 가능성을 제시하였다.

• International Area Studies Review
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• v.13 no.2
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• pp.712-739
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• 2009

This study organized various perspectives on the scope of arts management in terms of business management based on bibliographical speculations and statistical data. Management of arts such as performance art involves organizational management, human resources management, marketing and financial management. However arts management needs a new perspective in terms of access to specific academic area of arts while it can be approached in a derivative perspective of management theories. For arts include professional areas that need aesthetic perspective and interpretation of aesthetic history. As art market were opened where active international exchanges have been made over the past ten years, a new strategic approach in management is needed for major international arts markets such as the U.S.A., Europe and China. Such international arts markets involve international auctions markets, international Biennale, international art fair and overseas advance of galleries. First, we need strategic approaches such as nurturing star artists. Second, large-scale exhibition planning of artistic works from world-famous museums or art museums should be developed.

• Proceedings of the Korean Society for Information Management Conference
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• 1995.08a
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• pp.101-104
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• 1995

미술분야의 경우 타주제분야와는 달리 정보이용에 있어서 시각적인 중요성(Visual Significance)이 특히 강조된다. 따라서 이용자들이 미술연구 및 작품활동ㆍ감상시 원작품이나, 원작품이 미술관에 소장되어 있지 않을 경우 원작품을 가장 본질에 가깝게 제공하는 대용매체인 시각자료에 대한 요구도가 다른 자료에 비해 훨씬 높을 것이라는 가정을 할 수 있다. 따라서 본 연구에서는 이러한 가정을 근거로 과연 이용자들이 미술도서관을 통하여 시각자료만을 집중적으로 이용하는지, 아니며 다른 자료를 더 이용하는지, 그렇다면 그 이유는 무엇인지를 밝혀서 미술도서관 이용자에게 보다 더 효율적인 정보봉사를 제공할 수 있는 이론적 근거를 마련하고자 한다.

• The Journal of Art Theory & Practice
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• no.10
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• pp.85-103
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• 2010

Mona Hatoum and community make unlikely bedfellows. From her beginnings as a teenage exile to her maturity as an internationally celebrated artistic nomad, Hatoum defies classification within any single geographical or cultural community. Attempting, however, to locate specific points of contact between her and certain communities in terms of artist-in-residence projects in which she participated might be a particularly fruitful way of circumventing her notorious critical resistance to identity and her refusal of homogeneity. This paper starts with Miwon Kwon's critique of contemporary practices in community-based art, which locate an essentialising force that isolates a single point of commonality and overlooks authentic differences. It then turns to Jean-Luc Nancy's reconceptualization of community as 'unworked' and 'being-in-common' to provide analytical tools for avoiding the dangers of essentialism. By examining the three residencies that Hatoum accepted in the mid-1990s in the light of Nancy's observations and theories, and by bringing the idea of artistic nomadism and that of community into juxtaposition, we hope to show that Hatoum succeeds in finding an equilibrium between art and community, and that this sheds new light on the issues raised in recent discussions on such relationship.

• The Journal of Art Theory & Practice
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• no.8
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• pp.185-215
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• 2009

In Malaysia, figurative painting has increasingly become a means for artists to pose questions about presumptions of power and assumptions of history. The body, its potentially breached boundaries and defenses, forms an integral component of the battle for political influence. The degree of control over one's own and other people's bodies has become a measuring stick to determine the power of potential political leaders. Anxiety about boundaries and access to powerful bodies is intertwined with the questions of who has the right to hold power; the relevance of moral bodies and of what comprises an ideal self or selves. These questions are raised in intriguing ways in contemporary Malaysian art. While eschewing a direct take on current politics, Malaysian artists have increasingly turned to the body to address issues in Malaysian history, culture and the distribution of power. This paper will explore some works by three artists in particular, Wong Hoy Cheong, Nadiah Bamadhaj and Ahmad Fuad Osman use the figure to problematise dominant narratives in Malaysian history. Their work variously challenge political, racial and gender hierarchies and in so doing, reveal them as social constructions.

• Journal for History of Mathematics
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• v.19 no.2
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• pp.59-76
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• 2006

This research focuses on the relationship between mathematics and visual art from a perspective of chaos theory which emerged under the influence of post-modernism. Culture and history, which transform dynamically with the passing of time, are models of complexity. Especially, when the three periods of Medieval, Renaissance, and 17-18 Centuries are observed, the Renaissance period is phase transition phenomenon era between Medieval and 17-18 Centuries. The transition stage between the late Medieval times and the Renaissance; and the stage between the Renaissance and the Modern times are also phase transitions. These phenomena closely resemble similarity in Fractal theory, which includes the whole in a partial structure. Phase transition must be preceded by fluctuation. In addition to the pioneers' prominent act of creation in the fields of mathematics and visual an serving as drive behind change, other socio-cultural factors also served as motivations, influencing the transformation of the society through interdependency. In particular, this research focuses on the fact that scientific minds of artists in the Renaissance stimulated the birth of Perspective Geometry.

• The Journal of Art Theory & Practice
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• no.16
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• pp.7-40
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• 2013

Historian Eric J. Hobsbawm once said "the task that historians have is to analyze the meanings of the past within the context of society and to track the changes and implementation." It would not be too far of a stretch to apply Hobsbawm's quote to art historian since art history, although quite specific, is still history. In addition, Hobsbaum also asserted that, "a mold called the past continuously forms the present or at least thought to be." It is my recognition that the major westernization of the last century took place under the Japanese colonization which served as the channel to usher in western art; however, the current 20thcentury Korean art history fails to recognize that the mold of the past, namely western art in this case, has formed the modern art of the present. Based on this recognition, attention was given to what lacked in the analysis of the current 20th-century Korean art history in terms of "Informel" which was identified as the turning point towards "modern art" in the Korean art history as well as the following "experimental art." My belief is that the art history of Korea has to be reassessed from, a socio-cultural perspective as well as adopting multi-level and diachronic understanding. However, the existing Korean art, especially the one between the end of 1950s to the 1970s was based on the perspective of "severance"; thus, raising the needs for the starting point of a new perspective. It is my conviction that meta perspective on writing is most essential in order to lay a solid basis for the Korean art scene to have a productive discussion. I feel the utmost necessity to reinterpret the typified history analysis and criticism which stemmed from the trauma under the Japanese colonization. The most urgent task is to avoid academic closeness and to share the research. Painting is an individual expression of the artist, but the act of expression is not free from the cultural and societal influence to which the artist belongs.

• The Journal of Art Theory & Practice
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• no.3
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• pp.35-50
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• 2005

For us, any regional art exist? Almost all art events today take place mostly in Seoul. Concentrating on the reinforcement of its power, the regional art world remains isolated without any connection with the Seoul art community. It is completely closed off from the central art scene. The regional art world seems to consider that more helpful in consolidating its status. It is in real sense suffering the absence of art criticism and art media, lack of an understanding of art and backwardness of art education. Many regional artists are dreaming of moving out from their domain, aspiring to be a member of the central art world. They make an effort to assimilate into a refined, modern style of the central art circle, rather than striving to create works imbued with regionality and locality. As the artists living in the provinces, the characteristics of their district should be above all else reflected in their art. Although they are less informed about the latest trend of culture and art, their art has to be something passionately and obstinately embodying the intrinsic quality of their regions. They have to find a practical solution more positively, instead of merely complaining about the poor condition of the regional art community. There is the need to bring about a turnabout in our awareness that regional art is confined to any limit and cannot be in the center of the entire art world. What' s most significant is to dissolve factionalism and not to depend on school ties or regional networks. As a reaction against authoritarianism, regional art has to put emphasis on attaining its originality. For this, regional art should respect regional tradition, history and background and break away from an old convention of wielding power.

• Journal of the Korea Convergence Society
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• v.7 no.3
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• pp.35-44
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• 2016

The purpose of this study is to examine the theoretical background of art make-up and surrealism in depth and shed new light on creative thoughts coming through application of Depaysement and various kinds of expression realized through art make-up, where art and make-up are incorporated. The study method is to conduct prior research followed by a theoretical study of the concept and techniques of Surrealistic Depaysement and theoretical background of art make-up through specialized books and internet sources and then to create 4 artworks representing characteristics of Depaysement technique categorized in dual image, fusion of heterogeneous objects, modification and conversion, and change of space. This examination resulted in first, a foundational ground for fusion and use of art and make-up sectors by creating a realm of expression based on creativity through incorporation of art and makeup and second, a sense of freshness and unfamiliar-ness by creation of an image in a completely unfamiliar space. Therefore, the researcher sets a direction for ways to come up with new ideas and expand the realm of expression and hopes that the art-makeup does not just become an aesthetic tool but turn itself as an art genre.

• Journal of the Korean Home Economics Association
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• v.17 no.3
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• pp.71-83
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• 1979

한국 유아 교육기관에서 3,4,5세 어린이 63 명을 대상으로 시간에 따라 표집을 하여 관찰한 결과 변량분석하였다. 그 결과 , 이 세 연령의 어린이에게서 병행놀이가 다른 어느 형태의 놀이보다도 가장 많이 나타났으며, 나이가 많아짐에 따라 증가하는 것으로 나타났다.두번째로 많이 나타난 안하는 상태의 행동은 연령의 증가에 따라서 줄어드는 경향을 보였고, 3세에서 여섯 번째로 나타났던 협동놀이가 5세에서는 세 번째로 많이 나타나 증가의경향을 보였다. 손으로 다루는 장난감과 바퀴달린 장난감의 사용은 연령증가에 따라 감소하는 경향을 나타냈으나 미술 공예 자료와 책의 사용은 증가하였다. 장난감 사용에 있어 남녀의 차이를 나타냈는데, 즉 남아들은 여아들 보다 손으로 다루는 장난감, 나무토막, 바퀴달린 장난감들을 많이 사용하고 여아들은 소꼽놀이와 미술 공예 자료를 더 많이 갖고 노는 것으로 나타났다. 또 오전 오후반으로 나뉘어진 4세에서는 오후반 남아들이 오전반 남아들에 비해 소꼽놀이 미술공예자료를 더 많이 사용하였고, 여아들은 오후반이 오전반보다 미술 공예 자료를 더 많이 사용하였다. 또 오전반은 4세 여아들은 같은 성 같은 연령이 어린이와 가장 오랫동안 노는 경향을 나타냈다. 본 연구결과와 Patern의 연구결과에 대한 설명을 Parten의 놀이이론과는 다른 입장에서 설명하였다.