• Trans-
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• v.10
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• pp.15-29
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• 2021

After the coronavirus pandemic, quarantine or social distancing was required for public health and almost all international exchanges were restricted. Those changes affected huge peoples lifestyle including a way of behaving, purchase and even old habits seemed unable to change. The art market also faced many changes. Art fairs are the primary sectors in the art market but restrictions on gathering and exchanges between countries have primarily affected the size and the type of event. Online platforms are rising, art fairs opened online viewing rooms on the internet instead of booths in the convention center. Even galleries opened their own viewing rooms or renewed online pages to promote artworks and communicate with customers. In this paper, we will examine the effects of Corona on the art market and will seek a way to react to those changes and challenges.

• Journal of Digital Convergence
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• v.20 no.5
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• pp.741-749
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• 2022

The purpose of this study is to find out what kind of media perception can be experienced by the audience when artificial intelligence technology meets art, where new technologies are invented one after another. Among the artificial intelligence works, I selected works that stand out in relation to perception and investigated what kind of media perception the audience experiences when artificial intelligence technology meets art. By examining the characteristics of machine hallucinations, uncanny, and artificial empathy with the media perception of artificial intelligence art, these perceptions were ultimately identified as aura perception within family resemblance. In the future, artificial intelligence technology will develop further and artists will not stop experimenting with them. It is expected that the works created by artists will expand the audience's perceptual experience while providing new experiences to the audience.

• The Korean Publising Journal, Monthly
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• s.247
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• pp.24-25
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• 1998

• Korean Architects
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• s.541
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• pp.20-21
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• 2014

• Journal of Conservation Science
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• v.37 no.5
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• pp.516-524
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• 2021

The 'artist's intention' plays an important role in the conservation process of contemporary art. Accordingly, the information on artworks owned by the artist, their bereaved family members, and foundations that have decision-making power is important. The artist's interview is the kind of data that can clear 'artist's intentions' to ensure reliable conservation treatment can be carried out even after the artist's death. Therefore, this study attempted to use information from the artist's interview on the type of wood in the manufacture of the filler required for lifted and separated bark conditions in the conservation process of wooden artwork in the National Museum of Modern and Contemporary Art. While the conservation treatment resulted in the stable preservation of the bark of artwork, an analysis of the wood confirmed that the information in the artist's interview was not true. Consequently, we suggest that attention must be paid toward the information provided by artist, their bereaved families, etc. Based on the result of this study, this is also expected to help preserve upcoming artworks with similar bark conditions.

• 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.

• Science of Emotion and Sensibility
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• v.20 no.3
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• pp.151-168
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• 2017

Current research aimed to demonstrate a way to enhance the aesthetic experience of the general public while appreciating contemporary art via online platform. Contemporary art is highly complicated and are avoided by the general public. Meanwhile, previous research confirmed that external information can lead to better aesthetic experience and appreciation of the artwork. Therefore, current research hypothesized that provision of explicit information may enhance the appreciation of contemporary artworks and aimed to demonstrate which phase of the cognitive process from Leder et al. (2004) profits from the aid of written information. Experimental environment reproduced online curating platform to reflect the current trend on exhibition. In experiment 1, subjects were presented with written information and reported how well they understood the artwork, and their willingness to visit the artwork in real life. Results revealed that written information had a positive effect on overall appreciation. Further analysis discovered a full mediation between information comprehension, artwork comprehension, and willingness to visit. In experiment 2, ARS questions and an interactive interface were added. Results indicated that information enhanced comprehension and intention to visit the artwork. Expertise, self-reference, and artistic quality which belong to later stages of Leder et al. (2004) model, acquired higher scores on information conditions. In sum, the current research illustrated clear effects of explicit information in inducing better aesthetic experience and cognitive process of contemporary artworks in online environment.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.261-269
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• 2022

The advent of the pandemic era due to COVID-19 is causing new changes in all areas of individuals, organizations, society and the country. The art market also faced a crisis due to restrictions on individual movement between regions and countries and social distancing, and even the contents of the work, the way the work is traded, and the propensity and characteristics of the buyer are changing. These demands for change in the art market are accelerating new opportunities for change by converting digital, expanding the online art market, expanding virtual space using VR(Virtual Reality) and AR(Augmented Reality) technology, and expanding the trading area of digital works NFT based on blockchain technology. In this study, the flow of change in the art market brought about by the Pandemic era is analyzed from the perspective of digital transformation. The contents of digital acceptance of the art market are identified through a summary of various types of digital transformation in the art market and a survey of perceptions following the introduction of digital transformation and NFT. Discuss major legal, economic, social, and transactional issues and countermeasures following the introduction of NFT based on blockchain technology in the art market.

• 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.

• Journal of The Korean Association of Information Education
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• v.9 no.2
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• pp.221-228
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• 2005

The art appreciation education is emphasized to develope independent thought and upright value decision in the flood of various image medium. A experience of beauty and a express part related with the sentimental field is focused on directing in the seventh arts curriculum, too. Although the art appreciation education is emphasized, just expressive and functional art texture is still taught in the education spot up to now. Also a appreciative activity is limited simply to describe own feeling intuitionally ; time shortage, difficulty of analysis product, difficulty of guiding appreciation. In this paper I refer that analyze figurative factors of a art product, modify it by applying other program, compare with it and then I develope web base art appreciation system and apply it. As a result I get educational effect. When checking line, form, light and darkness, color, feeling, space and composition of external some factors in a product, formative sense and analytical appreciation is improved.