• Journal of Digital Convergence
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• v.19 no.4
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• pp.227-233
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• 2021

Ready-made products produced in the industrialized consumer society after the 20th century have been adopted by artists as a new material called "Found object," and are reinterpreted in a broad sense in their works. The method of giving new meaning using this creates a new paradigm that is expanded conceptually as well as expression style. After Pablo Picasso's in 1912, when the Found object was used for the first time in contemporary art, we examine the development of objects through Dadaism, Surrealism, and Pop Art, and the expression of Found objects in the late 20th century. In this study, the artists and their work are analyzed by dividing it into three types: 'Unprocessed objects', 'Transformed objects', and 'Tenant objects', depending on how the Found object is mixed in works. Through this study, I pay attention to the fact that a work incorporating a Found object not only develops the object materially, but also allows the practice of free concept art to escape from the traditional norms of art.

• Cartoon and Animation Studies
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• s.49
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• pp.537-561
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• 2017

Machines and robotic structures are questioning existential bases of human beings. They influence our way of thinking and transform our social philosophies and value systems. The same time they keep their fascination ever since. Mechanical technique and skills are symbols for development and hazard at the same time. The attraction of this ambivalence is reviewed in this thesis by having a look at kinetic elements in modern sculpture. The author is focusing on classical sculptural positions that use machines or machinery within sculptural artworks. The historical development is examined and certain examples from the classical modern era are discussed as role models during their time. On this scenario, the portraits of two young contemporary outstanding positions in the field of kinetic art and installation are analyzed and explained. One of the goals was to investigate the eastern and the western language of two artists that are doing artworks in the same field and compare the works and the cultural expressions to each other. Different cultural positions and visual languages become visible due to the research. And the author's final conclusions is, that even in a globalized world there will always be significant local distinguishes remaining.

• 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.

• Archives of design research
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• no.16
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• pp.237-252
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• 1996

Study of new materials, which has been going on in many fields of modem art since the beginning of this century, has cintributed much to the development of modem art. In this regard, it is noteworthy that many in the field of fiber art have experimented with non-traditional, indusrial materials with some notable success. Industrial materials represent the world of thechnology we live in and help us form the kind of view on art that is reflective of the present age and its social milieu. Industrial materials, when used as media for art, also present us with new concepts and possibilities for artistic expression. In fiber art, the use of industrial materials has greatly expanded the very idea of 'fiber', effectively ferring the imagination of fiber aetists to experiment with diverse materials and new mathodology. Overcoming the traditional constraints of technique-orienthd their discipline, fiber artists began to pay more attention to matiere or the material jtself and the infinite variety of surface, color and texture that it promises. And informed by this newly discovered aesthetice of the material. fiber artists began in eamest to expand the area of their artistic expression, producing multi-dimensional works, conquering space and experimentiong with hugc environmantal works.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.413-427
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• 2023

This study, centered on the artworks of Julius von Bismarck and Hito Steyerl, elucidates the aesthetic role that fashion plays in Berlin's contemporary art as an art medium. To this end, the following research questions are addressed: What are the characteristics of Berlin's contemporary art and contemporary fashion? What are the artistic styles and features of Julius von Bismarck and Hito Steyerl, and what attributes of fashion as an artistic medium are embedded in their works? How can the attributes of fashion, leveraged as an artistic medium in Berlin's contemporary art, be identified? The research methodologies used in this study include literature review, content analysis, and case analysis. The analytical findings of this study reveal that 1) Berlin has established itself as an international center of culture, yielding keen insights into artistry with reflections on technological media, and 2) the contemporary artworks of Julius von Bismarck and Hito Steyerl in Berlin feature some significant attributes of fashion as an art medium such as contemporary antisociality, metaphorical theatricality, and the tangible and intangible properties of algorithms.

• Journal of Science of Art and Design
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• v.9
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• pp.89-115
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• 2006

한국근대미술은 유화 도입기인 1910년대를 한국미술사의 중요한 시작점이다. 1910년경부터 형성되기 시작한 유화 도입배경과 그것이 당시 사회의 절실한 요청에 의한 것이었는지, 그렇다면 그것이 무엇인지 규명하는 것이 한국근대미술 초기를 알 수 있는 중요한 문제일 것이다. 일본근대 유화의 역사는 국수주의와 서구주의 물결이 반복하는 과정에서 점차 일본화된 소재의 등장과 일본정서에 부합하는 화풍을 만들어 나가게 되는 것이 1890년대부터 1910때까지의 일본근대 유화계의 상황이라고 할 수 있다. 이 시기를 다시 요약하면 외광파와 인상파가 절충된 양식에 일본의 메이지낭만주의에 부합하는 소재 즉 일본전통이라고 할 수 있는 풍경에 대한 애착 등이 전체 유화의 기류로 나타나는 시기라고 할 수 있다. 실제 새로운 문화의 하나였던 유화는 점차 세계의 다양한 미술사조 속에서 일본화다운 것으로 발전하는 모습을 보여준다. '구로다 세이키'(黑田淸輝) 이전에 이미 형성되었던 일본근대 유화양식과 구로다의 외광파 양식, 또 외광파가 일본 근대유화의 주류로 형성하게 되는 계기, 여기에 프랑스에서 직접 배워 온 작가들에 의한 인상파 도입 그리고 일본 '메이지낭만주의'(明治浪漫主義)의 등장으로 인한 사회 환경구조의 변화 속에서 양성된 그들의 절충양식의 초기유학생들에게 큰 영향을 미쳤다. 우리근대미술은 '민족적 자부심'과 '민족적 열등감'이 동시에 존재하는 사회적 배경논리에서 출발하지 않으면 안 된다. 즉 근대미술의 사상적 배경에는 민족 개량주의적 발상과 계몽주의적 문화 활동에 있었다고 할지라도 근본적으로는 미술자체를 근대사회 발전의 연장선 속에서 파악하지 못했고, 따라서 미술자체를 새로운 문명수입이라는 근대적 풍물 정도로만 파악했던 것이 어쩔 수 없는 근대미술의 한계라고 할 수 있다. 이 시기에 미술을 주목한 이유는 근대적 사회로 발전하기 위한 하나의 필수적인 요소로 미술자체를 파악하고 나아가, 식산흥업(殖産興業)의 수단으로 인식 했던 신지식층에 의해 시작되었다고 할 수 있다. 문명의 발달이 미술의 발달에서 연원한다는 '미술문명론' 같은 시각이 미술자체가 성격이나 창작의 방향과는 무관하게 어떤 미술이든 그것을 활성화시키는 것이 근대 즉 문명화된 세계로 나아갈 수 있다고 하는 관점에서 비롯된 것이라고 할 수 있다. 한국근대미술에 있어서 아카데미즘 역시 일본근대미술과 불가분의 관계가 있음을 부인할 수 없다. 초기유학생들은 그 당시 일본의 잡지나 화단에서 일어나는 여러 가지 시안들을 피상적으로 이해하는 정도였을 것으로 파악할 수 있다. 이러한 맥락에서 보면 한국근대미술에 있어서 초기유학생들의 작품과 그 이후 선전에서 입선하는 작품들은 일본아카데미즘의 영향 밑에 있다고 해야 할 것이다. 일본 근대 유화에서 형성된 외광파의 요소와 인상파 요소들이 일본 낭만주의로 표면화된 하나의 일본근대 유화의 형식 그대로가 한국아카데미즘의 성격을 결정하고 있다고 할 수 있다. 게다가 1922년에 시작된 선전은 심사위원 대부분이 동경미술학교 교수이면서 구로다의 제자이거나 동료였다는 것은 이러한 사실을 더욱 확고하게 뒷받침하고 있는 것이다. 초기유학생들이 남긴 작품들은 완전한 인상파에 대한 지식이나 깊은 자아의식을 가지고 제작된 것은 아니라, 일본 동경미술학교에서 가르치고 있었던 것들을 그대로 수용했다고 할 수 있다. 따라서 이들의 그림은 구로다의 외광파라고 부르는 것들의 영향보다는, 인상파를 보고 배웠던 동경미술학교 교수들의 영향을 더 많이 받았다고 할 수 있다. 그리고 이들의 영향은 그대로 한국 근대미술의 아카데미즘을 형성하는데 커다란 영향을 미치고 있음을 부인할 수 없다.

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.230-240
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• 2011

A gallery provides the function to make opportunities for artist to meet the customers who would buy the products from them. And there was performed the place where artist who production provider, planner, managers and private collectors met to distribute artworks and to educate fine art for public and provide a chance sending leisure time. We investigated this galleries at old urban center in daegeon region by the deep interview and Delphi method. A galleries was operated by a sense of duty and pride. Though its environment is poor, it grows up the young artist and art trends. By delphi results, the role of gallery is recognized as the discovery of an unknown young artist and provider of art trend and paradigm. Also they was recognized as the space for social and cultural responsibility operation culture. Galleries was recognized as key factors as literary value, marketability and harmony between gallery and artworks. Artist was known as a key factors as gallery's expertise, gallery awareness and capacity for artworks selling. Gallery will be considered the functions as the various cultural experience space and culture service space. Although galleries are passive and one dimensional functions.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.2
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• pp.629-639
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• 2011

This paper classifies factors that form Chinese contemporary art price which comes into the spotlight in the current fine art market and consider the characteristics that form price with Chinese art only. The data were analyzed applying hedonic price setting models which include market value as a dependent variable with the various characteristics that art includes as the individual factors. The result has found that Chinese contemporary art has the more effects on factors of artists than sales factors. The social factor is worthy of notice in that Chinese GDP jointly raised with the price of Chinese contemporary art. At this point that interest in and demand of Chinese contemporary art are higher, it is thought that the result of this study will raise comprehension and convincing purchase direction will be suggested to collectors.

• Journal of Advanced Navigation Technology
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• v.22 no.2
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• pp.163-167
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• 2018

Probabilistic approach is applied to the experiment of Probability Density Function to get the information. Especially this method will be useful to make the montage to compare similarity. But in the case of art painting, it is more difficult than montage image. In this case, we should study the habit of painter with characteristic point in the paintings. Especially we will study characteristic point in the oil paintings to decide truth or falsehood in this paper.

• The Korean Journal of Archival Studies
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• no.52
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• pp.213-240
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• 2017

Catalogue raisonne is a holistic work record of artist which describes academically significant record information related to works by cataloging major works of an artist. Such catalogue raisonne is used as research material for exhibition planner and researchers and even used as fundamental material for winnowing out authenticity of work. Compilation of domestic catalogue raisonne is at an opening step, but in foreign countries, the art related institutions and artist foundations play key role in compiling catalogue raisonne of artists. Cataloge raisonne is an essential element of record about the art work and relevant information. However, as the description of catalogue raisonne can vary in accordance with characteristics of artist and art work. Therefore, this study has analyzed catalogue raisonnes of artists published in foreign countries, examined the characteristics and description element of catalogue raisonne in details and aims to contribute to compilation of catalogue raisonne of authoritative domestic artists.