• 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.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.125-126
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• 2016

가로 공원 건축물의 외벽 그 밖에 공중에게 개방된 장소에 항시 전시하는 경우에는 파노라마의 자유(freedom of panorama)라는 원칙에 의거하여 몇 가지 예외를 제외한다면 그 저작물을 복제하여 자유롭게 이용할 수 있지만, 개방된 장소라고 하더라도 건물의 내부에 전시되어 있는 경우에는 영상저작물에 타인의 저작물이 복제되어 상영되는 경우에는 저작권 침해가 되는 것이 현대 사회 저작권법의 원칙으로 인정되고 있다. 그러나 제작자 및 감독들은 이러한 저작권법의 원칙을 인지하지 못하여 영상저작물을 제작할 때 이러한 법원칙을 고려하지 못하여 타인의 저작물(미술저작물 및 음악저작물) 등이 그 영상저작물에 삽입되는 경우가 자주 발생하고 있고, 이에 따라 저작권 침해 소송이 최근에 발생하고 있다. 본 논문에서는 우리나라 저작권법 제35조 제2항과 관련된 판례들을 분석하여 영상제작자들에게 주의를 하고자 한다.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.199-200
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• 2018

오늘날 미술관에서 멀티스크린 기반의 영상설치 작품을 접하는 것은 어려운 일이 아니다. 이와 관련해 갤러리 영화, 전시의 영화, 다른 영화 등과 같은 용어와 담론들이 있다. 본고에서는 최근 많이 사용되는 '아티스트 시네마'라는 용어를 사용 한다. '아티스트 시네마'를 영화이론(Film Theory)과 미술사(Art History)의 맥락이 교차하는 지점에 두고, '아티스트 시네마'가 경유하는 영화적 요소들과 현대 미술적 요소들을 엘리자-리사 아틸라의 <상담 서비스>(1999)를 통해 분석한다. 분석의 단계는 첫째, 내러티브를 구성하는 '프레임 안의 내용', 둘째, 영상 설치 작품을 구성하는 오브제와 작품이 놓인 미술관이라는 '프레임 밖의 맥락', 셋째, 관람자의 시간적, 공간적 경험이다. 이를 통해 '아티스트 시네마'와 미술관이라는 시스템이 가지는 비평의 지점에 관해 생각해 보고자 한다.

• Journal of Science of Art and Design
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• v.10
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• pp.51-72
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• 2006

Reinterpretation of the visual characteristics of Korean folk painting in contemporary Korean painting is to seek directions of today's Korean painting. When examining expressions of contemporary painting we see that there is a reappearance of iconic images, a reinterpretation of both flatness and multi-perspectives, and an objectifying of pastiche folk icons with an experimental spirit. All of these techniques suggest methods of contemporary Korean painting through 'folk painting'. Although folk painting has been adopted in contemporary Korean painting for a long time, interest increased in the 1980s. With the prevailance of both national characteristic expressive techniques of realism and color painting, artists reinterpreted folk painting in their work, borrowing the traditional five colors, common contents, and iconic images. Particularly, an interest in 'Korean Beauty' drew people's interest back to folk painting which provided the significant 'Korean Beauty' of traditional expressive techniques. This study is to examine the characteristics of selected group of works that created a new expressive technique in today's Korean painting by either the reappearance or the reinterpreting of iconic images of the Chosun Dynasty's folk painting. To achieve these goals, the artists, who modify or reinterpret folk painting's visual characteristics with a contemporary sense, are divided into three categories in this study; 'The Readoption of the Folk Image', 'The Reinterpretation of Folk Characteristics', and 'Experimental Expressions'. As a result, it proves that folk painting is both a classical expression and national expression which was not only favored in the Chosun period, but also can be reinterpreted through today's visual methodology.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.173-180
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• 2009

Increased appetite for art and design due to improving the economic standard of living and industrial community recognized the value of art in the profitable aspect currently demands various exhibitions in various environments. These social needs and changes in corporate culture to meet the rapidly expanding opportunities for artistic exhibitions, and this modern exhibition outside of the conventional gallery requires more for designers to work with various exhibition spaces, and the opportunities are increasing further. Various types of exhibition space in the exhibition planning an unspecified environment best suited to each exhibit space has been designed to require. This comprehensive study of an environmental poster exhibition held in the Seoul Institute of the Arts, MA-block lobby during 2009.06.10-06.19 was a part of the international exchange projects between Seoul Institute of the Arts and California State University, Northridge. Planning and designing throughout the exhibition in an unspecified space for exhibition requires more creativity and flexible approaches than in the general exhibition gallery.

• The Journal of Art Theory & Practice
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• no.16
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• pp.225-256
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• 2013

As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the reality"(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: "Poetry is greater than history"(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists-Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the "identity" of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s' works. In this way they tried to recompose the history "randomly", like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and "reappearance" of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article "Icon and Form". It means how to reshape (the present) the typically formed icon of the CR (the past).

• Science of Emotion and Sensibility
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• v.23 no.4
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• pp.73-92
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• 2020

This article addresses the possibility of developing a new art appreciation method using olfaction, which was not previously considered an important sense in expanding the cultural enjoyment of visually impaired people. The human olfactory system is a faculty that is not considered very important in modern society; however, this is due to cultural factors, and from a biological point of view, the human sense of smell has sufficient potential for practical application. In this study, it is assumed that when various types of scent are perceived through this sense of smell, each has its own unconscious relation to color and concept, which researchers have termed "color directivity" and "concept directivity." Through experiments, the researchers found that some specific scents have color directivity and concept directivity, and in using these scents, they succeeded in delivering information about colors used in artworks to the visually impaired. Based on this study, we hope to continue our research on the use of color-concept directional scents that can convey the brightness and saturation of colors and more diverse hues.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• Proceedings of the Costume Culture Conference
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• 2003.04a
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• pp.81-81
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• 2003

전통문양은 우리 민족의 집단적인 가치 감정이 표현된 미술로서, 우리 고유의 민족성과 생활양식에 의해 발전되어왔다. 그 중 떡살문양과 창살문양은 조형성과 예술성이 뛰어난 전형적인 전통 문양이다. 본 연구는 우리나라 전통 떡살문양과 창살문양을 현대적 미의식에 맞도록 재구성하여 니트디자인에 응용하고자 하였다. 이는 다양한 니트의 표현기법으로 전통미를 살린 실용적인 복식디자인 개발을 하여 우리 것에 대한 아름다움과 가치를 널리 알리는데 그 목적이 있다. (중략)

• Proceedings of the Costume Culture Conference
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• 2003.09a
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• pp.100-101
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• 2003

복식이란 인간의 내면적 욕구를 외적인 미로 표현하는 방법으로써 인간이 노출된 시대적 상황에 대한 반응 수단이자 한 시대 예술의 구성인자로 지각되며 경험되는 매체의 하나라고 할 수 있다. 그러므로 의복이란 회화, 미술, 공예 등의 조형예술과 사회적, 정치적, 경제적, 문화적 배경아래에서 탄생되며 상호 관련된다고 설명할 수 있다. 본 연구의 목적은20세기 대표적인 화가 피카소의 작품을 CAD시스템을 활용한 후 현대의상에 접목시켜, 개성 있는 디자인 창출의 모티브로서의 가능성을 제시함에 목적이 있다.(중략)