• The Journal of Art Theory & Practice
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• no.13
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• pp.133-156
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• 2012

This paper briefly charts the history of excrement as part of the late 20th-century art and explores ways in which excrement functions in the realms of 'High' art. From Piero Manzoni's to David Hammons' performance , excrement has taken a small yet distinctively important part in the development of contemporary art. In an attempt to challenge the hegemony of 'high' art, on the one hand, and resist the commercialization and fetishization of art, on the other, Manzoni allegedly offered his own "shit" preserved in a tin can and sold it at the price of gold of the same weight. Andy Warhol took the legendary Abstract-Expressionist painter Jackson Pollock as the object of parody, simulating Pollock's dripping action by pissing onto the canvas that had been primed with copper-based paint. Warhol's urination produced splashes and stains of iridescent colors just as the patterns on ordinary abstract paintings. In contrast to Pollock's masculine action, Warhol's pissing alludes to the artist's homosexuality. Excrements in art also provoked controversies, debates, and even acts of vandalism against the artworks. The works of Andres Serrano and Chris Ofili infuriated many Christians for the blasphemous use of excrement with religious icons. Politicians engaged in the heated debates on the use of public and national funds in support of some of the 'politically incorrect' contemporary art. In the midst of media sensation and criticisms, these works challenged the conventional understanding of artistic beauty. The preexisting artworks were also targeted. African-american artist Hammons assumed the role of spectator in by urinating on Richard Serra's sculpture in the street of New York City. It was an act condemnation levelled at the racist pattern of the way in which large portions of funds and commisions of "public" art tended to promote established 'white' artists, whose work or creative process often failed to reflect the actual public. The use of excrement in art is not unusual in contemporary art practices. With its subversive power, excrement plays an important critical roles in the shaping of contemporary art.

• Proceedings of the Korean Society of Disaster Information Conference
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• 2022.10a
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• pp.273-274
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• 2022

최근 불안정한 기후로 대규모 재해재난이 자주 발생하고 있으며, 인적·물적피해도 크게 늘어나고 있다. 단적인 예로 경북 포항 지하주차장 침수 피해 및 포항제철소 고로 3기 가동 중단은 기록적인 폭우와 만조와 겹친 냉천의 범람이 주요 원인으로 지목되고 있다. 하지만 사전에 충분한 예방, 대비를 했더라면 인적·물적 피해를 최소화 할 수 있었을 것이다. 재난 및 안전관리기본법에서는 국가와 지방자치단체가 재난이나 그 밖의 각종 사고로부터 국민의 생명·신체 및 재산을 보호할 책무를 지고, 각종 사고를 예방하고 줄이기 위하여 노력하도록 하고 있다. 또한 재해경감을 위해 예방, 대비, 대응, 복구에 대한 의무를 부과하고 있다. 따라서 이번 경북 포항 침수피해의 문제점을 살펴보고 재난 및 안전관리기본법에서 규정하고 있는 예방, 대비, 대응, 복구 차원에서 피해 최소화를 위한 재난 대응방안을 모색하고 개선하는데 있다.

• Korean Journal of Medicinal Crop Science
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• v.13 no.4
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• pp.171-177
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• 2005

This study was carried out to investigate the distribution and habitat feature of Glehnia littoralis as a part of establishment of conservation plan for important natural agro-plant resources in South Korea. Habitat of Glehnia littoralis was generally found 28.2 m from high tide water line and 2.7 m above sea level at sand dunes near three seashore areas. Density and coverage of Glehnia littoralis were higher in east seashore among three seashore areas. The number of plant species growing with Glehnia littoralis in natural habitat was found 35 species. Among 35 species Ixeris repens Carex pumila, Carex kobomugi, Elymus mollis, Ischaemum anthephoroides, Imperata cylindrica var. koenigii were shown higher density and coverage. Average yearly precipitation and temperature of habitat for Glehnia littoralis were 1250.3 mm and $12.5^{\circ}C$, respectively. Among three seashores, the precipitation and temperature of south seashore were much more and higher than those of other two seashores. Soil characteristics of habitat for Glehnia littoralis were that average pH was 7.9 and organic matter was 0.23%. Content $P_2O_5$ and Ca were relatively higher, but the level K and Na were very low.