• Trans-
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• v.13
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• pp.1-16
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• 2022

Recently, the method of contacting and purchasing NFT art has been popularly evolving, and various prospects and predictions for NFT art have emerged. The discussion of NFT art is mainly a hot topic in terms of market size, profit, and sustainability. As the transition to digital accelerated after COVID-19, almost all genres of culture and arts faced a forced transition with the topic of combining digital and technology, but in terms of profitability, it was generally difficult to guarantee positive continuity. On the other hand, the combination of art and blockchain, and the new distribution method called NFT, attracted a lot of attention by causing fundamental changes that lead to technological transformation, continuity through profit creation, and even genre expansion of visual art. The discourse on NFT and the art market is a recent phenomenon and is being discussed focusing on statistics and numerical reports through data from newspapers and art-related research institutes rather than academic analysis or research. However, discussions related to NFT art should be considered in various aspects, such as the incorporation of technology and art, changes in distribution methods, and changes in creative methods according to media changes, not just short stories of phenomena such as high prices and winning bids. In this paper, we would like to examine the impact of changes in creators and distribution methods.

• Journal of Service Research and Studies
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• v.11 no.2
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• pp.79-93
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• 2021

The size of the domestic art market has increased 21.9% over the past five years as of 2018 to KRW 448.2 billion and the number of transactions has also increased 31.6% to 39,367 points maintaining growth for the fifth consecutive year. Art distribution platforms are diversifying from galleries and auction-style offline to online auctions. The art market consists of three areas: production (creation), distribution (trade), and consumption (buying) of works and as the perception of artistic value as well as economic value spreads interest is also increasing as a means of investment. Consumers who purchase works and think of them as a means of investment technology have an increased need for objective information about their works, but there is a limit to collecting and analyzing objective and reliable statistics because information provision in the art market distribution area is closed and unbalanced. This paper identifies objective and reliable art distribution status and status through big data collection and structured and unstructured data analysis on art market distribution areas. Through this, we want to implement a system that can objectively provide analysis of authors in the current market. This study collected author information from art distribution sites and calculated the frequency of associated words by writer by collecting and analyzing the author's articles from Maeil Business, a daily newspaper. It aims to provide consumers with objective and reliable information.

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.552-560
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• 2021

With the recent development of the art distribution system, interest in art investment is increasing rather than seeing art as an object of aesthetic utility. Unlike stocks and bonds, the price of artworks has a heterogeneous characteristic that is determined by reflecting both objective and subjective factors, so the uncertainty in price prediction is high. In this study, we used LSTM Recurrent Neural Network deep learning model to predict the auction winning price by inputting the artist, physical and sales charateristics of the Korean artist. According to the result, the RMSE value, which explains the difference between the predicted and actual price by model, was 0.064. Painter Lee Dae Won had the highest predictive power, and Lee Joong Seop had the lowest. The results suggest the art market becomes more active as investment goods and demand for auction winning price increases.

• The Korean Journal of Archival Studies
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• no.33
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• pp.155-206
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• 2012

Interests in archives management are getting expanded from the public sector into the cultural and artistic field for the ten years after legislation of "Act on the Management of Public Archives" in 1999. However, due to lack of recognition on the importance of archives in the cultural and artistic field, it is rather frequent that information is kept scattered or archives are lost. As an example, absence of precise contract documents or notes of bestowal keeps people from locating great amount of cultural properties, and because of it these creative properties are in the risk of thefts, the closed-door auctioning, or trades in unofficial channels. As how a nation manages cultural and artistic creation inside the nation reflects its cultural level, it can be said that one of the indexes to notice the extent of a nation's cultural level is to take a look at how they are circulated. This study started from this point. Growing economy and rising interests in culture and art made the society more cognizant of the importance and value that visual artworks have, but the archives and information which are showing the context of these artworks and are produced in the course of social interaction are relatively disregarded because too much emphasis lies on the work itself. It is harder to find archives or documentations in Korea than in other advanced countries about the artists themselves or philosophical discourse on the background of the artworks. There is not so much interest to preserve the archives and information produced after the exhibition also, and they are used for no more than promotion or reference. Hereupon, the researcher recognized the importance of visual arts archives and believed that systemic management on them are high in need. And metadata is an essential way for the systemic management, as recently management on artworks or their archives are conducted using the system of the agencies even though they are not produced electronically. The objective of this study is to manage visual arts archives systematically by designing a data model reflecting traits of visual arts archives. Metadata are needed in the every course of archives from acquisition to management, preservation and application. Visual arts archives find its rich value only when a systemic relationship is established among information on artist, artwork and events including exhibition. By establishing a Multiple Entity Data Model, in which artworks, artists and events (exhibitions) make relationship all together, metadata for management on visual arts archive gets more efficiency and at the same time explanatory trait of the archive gets higher. For this reason we, in the study, tried to design a data model by setting each as an independent entities and designating relations between them, in order to find a way to manage visual arts archives more systematically.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.640-644
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• 2008

In this paper, firstly, I take the concept of korean traditional cultural archetype and cultural content, and discuss about methodology that the cultural archetype can be cultural content. As the methodology of making cultural content of cultural archetype, analyzing media art which used material of the painting and korea traditional dance in the Chosun Dynasty, the photograph in the era from the end of the Chosun Dynasty to modern age, and a folk play, etc. And then I would like to suggest that the method of making cultural content of the cultural archetype using new media.

• Cartoon and Animation Studies
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• s.28
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• pp.55-78
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• 2012

Underground comics is a trend of comics started by reflecting hippie culture in the 1960's. It reflects hippie culture proclaiming return to nature and denying war with no humanity and social systems of material civilization expresses anti-culture in a radical and humorous way. Robert Crumb adds the features of hippie culture to comics aggressively with issuing comic book, series. Especially received great response from hippie. It became the chance for underground comics to improve further. includes works like 'Whiteman' expressing the hidden desire of conservative middle class or 'Keep on truckin' describing youths in hippie culture as characters lording it over somebody, strutting confidently across various landscape. The Comic was published and distributed independently and character-driven comic that reflected the variety of hippie culture. The Comic represented the characteristics of the underground comics very well. Winding lines and points, a strong contrast, were used for excellent graphical effect. These comics escaped from heroic comics of the era and played great roles in opening an era of underground comics which express satires of social culture more freely.

• The Journal of the Korea Contents Association
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• v.16 no.5
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• pp.194-204
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• 2016

With the fast diffusion of smart media, Webtoon has become popular contents among Korean people. Webtoon's content is being used in various content industries, such as movies and drama, and thus its cultural influence is increasing. Using ordinal Regression analysis, this study tried to find major factors affecting webtoon's success. This study found that readers' rating, number of likes, OSMU, author power, genre, picture style are important factors affecting the success of webtoon. This study has several business implications for the Korean webtoon industry.

• Review of Culture and Economy
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• v.19 no.2
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• pp.97-120
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• 2016

This study aims to identify how performing artists in Korea, who are the target beneficiaries of the Arts Council Korea's Performing Arts Fostering Program, Chang-jak-san-shil(CJSS), would perceive and assess the current state of CJSS and its effects. To do so, this paper has adopted a bottom-up approach as a theoretical lens for policy evaluative analysis. This research engages with qualitative research design by conducting a series of in-depth interviews and FGIs with 28 participants in total. The interview participants consist of CJSS grantees(n=21) and peer-review panels(n=7) based on the intension to enhance objectivity and reliability of the study. Results of the data analysis suggest that the grant program still carries pressing needs to achieve a success as follows: providing post-program support, enhancing transparency of the panel appointment process and the peer review process, reflecting different nature of each arts discipline, and having more open communications with arts professionals. Based on these findings, this paper will provide and discuss about policy implications which can contribute to the performing arts domain at large.

• Cartoon and Animation Studies
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• s.39
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• pp.413-450
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• 2015

Although cartoons have been recognized for their great potential and value, they have failed to bloom in Korea. This is because wrong perception and irregular distribution of cartoons have been repeated for the last several years. Presently, however, cartoons are escaping from chronic problems they have had for long and welcoming splendid chances now. From the mid- and late-1990's, there have been large-scale events having cartoons as their theme, and social recognition on cartoons is becoming more and more positive. Their contents are diversified, readers are increased, and they are escaping from stereotypes through harmony with other media. Lately, either large or small exhibitions for cartoons are being planned, and Korean cartoons are going overseas and producing exhibitions there. Particularly, visitors' appreciative eye is getting keener, and they begin to see them not as a genre underestimated as low culture like in the past but as a kind of art on which independent research is being actively conducted. One of the biggest factors that have allowed cartoons to be positioned as visual art is the form of exhibitions that combine them with other genres artistically. Especially the cartoon exhibitions being held these days are aggressively introducing various elements of the cartoon genre through the medium of exhibitions not just as a mere tool of seeing to help understand cartoon writers or works. The genre of cartoons is now regarded as an active subject that can reflect its own unique essence in this rapidly changing cultural environment and extend the range of it itself. The latest cartoon exhibitions are characterized by trans-genre and complex aspects in terms of their direction or organization according to the contents, space, or theme. This trend of cartoon exhibitions implies that they are subdividing, analyzing, and planning various factors not in a horizontal way that was centered around image as in the past. It means that cartoon exhibitions are evolving as a form of mobilizing, combining, and reproducing various methods. Although a number of cartoon exhibitions are being held with a variety of themes, there is still lack of research on cartoon exhibitions concerning their forms and contents. Therefore, this researcher sees cartoon exhibitions as a factor that allows cartoons to escape from negative recognition and examines various cartoon exhibitions, from Seoul International Cartoon Animation Festival to the ones that are recently held, to figure out the meaning of Korean cartoon exhibitions. Furthermore, this researcher will find out the factors of planning and popularity in international exhibitions or personal cartoon exhibitions being presently held and figure out new directions and potentials for Korean cartoon exhibitions based on that. To meet the needs of visitors whose expectations have become even higher, it is needed to try not just previous methods but experimental and original planning as well constantly. To realize that, it is necessary to keep providing a field of opportunity where cartoon works, cartoon writers, and visitors can communicate as in an exhibition. It is expected that this study will trigger research on cartoon exhibitions to be performed multilaterally and produce new discourse on cartoon exhibitions afterwards.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.2
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• pp.279-292
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• 2018

Unlike the global art market which experienced rapid recovery from the impacts of the Global Financial Crisis in 2008, the Korean art market has not yet fully recovered. The gallery-oriented distribution system, vulnerable primary art market functions, and the market structure centered on a small number of collectors make it difficult for young and medium artists to enter the market and, as a result, deepen the economic polarization of artists. In addition, the high price of art works limits market participation by restricting the general public. This study began with the idea that the interest of the public in the art market as well as their participation in the market are urgent. To this end, we noted that public awareness of art transactions can be a starting point for improving the constitution of the fragile art market, focusing on the 'Artist-centered Art Fair' rather than existing art fairs. To examine the contribution of such an art fair to the popularization of the art market, we analyzed the case of the 'Visual Artist Market (VAM)' project of the Korea Arts Management Service. Results found that the 'Artist-centered Art Fair' focuses on providing opportunities for market entry to young and medium artists rather than on the interests of distributors, and promotes the popularization of the art market by promoting low-priced works to the general public. Also, the 'Artist-centered Art Fair' seems to play a primary role in the public sector to foster solid groups of artists as well as to establish healty distribution networks of Korean Art market. However, in the long run, it is necessary to promote sustainable development of the 'Artist-centered Art Fair' through indirect support, such as the provision of a publicity platform or consumer finance support, rather than direct support.