• 미술자료
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• 제97권
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• pp.87-104
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• 2020

산률(山律) 선우영(鮮于英)(1946~2009) 필(筆) <금강산 묘길상도>(2000)는 국립중앙박물관이 소장하게 된 최초의 북한 화가 작품이다. 지금까지 알려진 <묘길상도> 가운데 가장 큰 종축(縱軸) 형식으로 크기가 세로 130.2cm, 가로 56.2cm에 이르는 지본수묵진채(紙本水墨眞彩) 그림이다. 선우영에 관하여는 최근 우리나라에도 수차례 개최된 전시회에서 비교적 잘 알려졌다. 그는 1989년 공훈예술가, 1992년 인민예술가 칭호를 받는 등 이른바 '진채세화(眞彩細畫)'의 대가로서 북한을 대표하는 화가가 되었고, 60여 점의 작품이 북한 국보로 지정되었다. 이 그림의 주제인 <묘길상> 마애불은 금강산 내금강 지역에 있는 만폭동 골짜기의 높이 40m 벼랑 아래에 15m 정도 크기로 새겨진 고려시대의 마애불이다. 이 마애불의 명칭은 마사연(摩詞衍) 동쪽에 있었던 묘길상암(妙吉祥庵)에서 유래한다. 마애불의 오른쪽 옆 바위에는 직암(直庵) 윤사국(尹師國)(1728~1709)이 쓴 '묘길상(妙吉祥)'이라는 큼직한 음각의 글씨가 새겨져 있다. 필자는 불상의 수인(手印)을 오른손과 왼손이 모두 엄지와 약지(藥指)가 만나는 하품하생인(下品下生印)과 비슷하지만 왼손이 아래를 향하고 있지 않고 오른손과 거의 직각을 이루며 복부에 놓여있으므로 설법인(說法印)으로 보았다. 즉 이 불상은 설법인을 결하고 있는 석가상(釋迦像)이라고 결론지었다. 선우영의 <금강산 묘길상도>는 조선시대 같은 주제의 그림들과 비교하면 불상의 자연 환경, 즉 벼랑 아래 감실에 새겨진 불상이라는 점과 불상이 인간의 모습이 아닌 암각상임을 수묵진채로 표현한 유일한 그림이다. 구도와 색감이 자아내는 초현실주의적 분위기 또한 이 <금강산 묘길상도>의 특징이라 하겠다. 이 그림을 포함한 선우영의 대부분 작품이 진채로 바위 질감을 사실적으로 표현한 그림이지만 그의 만년작 <파도>(2008)와 같이 전통적의 수묵화에 가까운 그림도 그렸던 폭넓은 작품 세계를 보여주는 화가이다.

• 한국콘텐츠학회논문지
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• 제12권8호
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• pp.178-186
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• 2012

본 논문에서는 디자인아트의 개념형성 과정을 연구하고, 이를 토대로 디자인아트의 의의를 도출하였다. 디자인아트는 1960년대 포스트모더니즘으로 형성된 탈영역의 기조 속에 90년대 새로운 예술 시장을 개척하기 위한 스타아티스트 및 스타디자이너 육성정책으로 작가로서의 디자이너가 탄생하며 활성화되기 시작하였다. 동시에 인터넷의 보급에 따른 정보의 대중화로 사용자의 자발적인 콘텐츠 제작 및 배포 활동이 가능해짐에 따라 디자이너가 독자적인 위치를 담보하기 위해 예술적 가치를 수용하게 됨으로써 디자인아트의 영역은 더욱 확고하게 되었다. 따라서 디자인아트는 '예술로서의 디자인'을 뜻하게 되며 디자인아티스트는 '작가주의 디자이너'라는 일반적인 의미를 획득하게 된다. 이는 2000년대에 들어 기존 아트갤러리의 디자인아트 수용 및 디자인아트 페어와 같은 새로운 디자인아트 시장의 형성으로 다양성을 확보하게 되었으며, 시장의 활성화는 디자인 생태계에서 새로운 개념의 디자인을 창출하려는 움직임으로 나름의 역할을 수행하기에 이른다. 이와 같은 내용을 토대로 현업에서 활발하게 활동 중인 디자인아티스트의 작품 분석을 토대로 디자인아트의 향후 발전 가능성을 살펴보았다.

• 복식문화연구
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• 제19권6호
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• pp.1372-1384
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• 2011

The purpose of this study was to identify egonomy tendency on their self-makeup and appearance management behavior of university women in Jeonbuk province. A self-administered questionnaire was used for data collection. Frequency analyses, reliability analyses, cross-tabulations and multiple regression analyses were used. Factors of university women's egonomy tendency were individuality, value, luxury good, style, design, appearance, and economic feasibility. University women were classified into the egonomy retarde group(G1), the value pursuing group(G2), the economic feasibility pursuing group(G3), and the highly egonomy pursuing group(G4). G1 were indifferent to their makeup methods and appearance management, had the least experience in buying recommended cosmetics or idea cosmetics. G2 invested time and efforts in makeup and managed their appearance with cosmetics or folk remedies, had less experience in buying artist brand cosmetics. G3 performed makeup frequently, were not much interested in appearances while showing the most frequent appearance management behaviors using cosmetics of folk remedies, and spent small amount of money to buy cosmetics. G4 showed high frequencies of all factors of self-makeup and appearance management behaviors, had the most experience in buying artist brand cosmetics and spent much amounts of money to buy cosmetics. Self-makeup behavior was affected by their tendencies to pursue individuality, values, appearance and appearance management behavior was affected by their tendencies to pursue luxury goods, appearance, and economic feasibility.

• 미술이론과 현장
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• 제15호
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• pp.31-49
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• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• 디지털융복합연구
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• 제10권10호
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• pp.431-437
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• 2012

대부분의 금속 공예가들은 자신의 개념 속에 있는 조형언어를 표현하기 위하여 필요한 재료를 찾고 기법을 연구함으로써 작품을 제작해 왔다. 그 중에서도 금속 공예는 재료의 제한 된 색상을 극복하려고 여러 가지 기법을 바탕으로 금속 표면에 변화를 주어 조형적 장식성을 표현했으며 미적 가치를 높이려 노력하고 있다. 이러한 시점에 과거의 전통 기법에 머물지 않고 새로운 방법을 연구해 나가는 작업이 가치 있는 일이므로, 본 연구는 이러한 요건에 맞추어 재료, 도구, 미적 표현의 가능성을 제시하고자 하였다. 이에 본 연구는 전통 금속 공예 기법 가운데 모꾸메가네(Mokumegane)기법을 활용하여 기존에 사용해 왔던 금속재료와 현대의 합금 금속재료를 적층융접하여 금속 표면 색상 표현을 연구하였다. 또한 작업 종류에 따른 문양표현 기법을 제시하여 기계에서 찾아볼 수 없는 금속표면의 무늬를 연구하여 전통 기법의 계승을 발전시킴과 동시에 고급공예시장에 대한 객관적 대비에 대하여 모색하고자 하였다.

• 미술이론과 현장
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• 제16호
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• pp.7-40
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• 2013

Historian Eric J. Hobsbawm once said "the task that historians have is to analyze the meanings of the past within the context of society and to track the changes and implementation." It would not be too far of a stretch to apply Hobsbawm's quote to art historian since art history, although quite specific, is still history. In addition, Hobsbaum also asserted that, "a mold called the past continuously forms the present or at least thought to be." It is my recognition that the major westernization of the last century took place under the Japanese colonization which served as the channel to usher in western art; however, the current 20thcentury Korean art history fails to recognize that the mold of the past, namely western art in this case, has formed the modern art of the present. Based on this recognition, attention was given to what lacked in the analysis of the current 20th-century Korean art history in terms of "Informel" which was identified as the turning point towards "modern art" in the Korean art history as well as the following "experimental art." My belief is that the art history of Korea has to be reassessed from, a socio-cultural perspective as well as adopting multi-level and diachronic understanding. However, the existing Korean art, especially the one between the end of 1950s to the 1970s was based on the perspective of "severance"; thus, raising the needs for the starting point of a new perspective. It is my conviction that meta perspective on writing is most essential in order to lay a solid basis for the Korean art scene to have a productive discussion. I feel the utmost necessity to reinterpret the typified history analysis and criticism which stemmed from the trauma under the Japanese colonization. The most urgent task is to avoid academic closeness and to share the research. Painting is an individual expression of the artist, but the act of expression is not free from the cultural and societal influence to which the artist belongs.

• 한국도서관정보학회지
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• 제50권4호
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• pp.611-633
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• 2019

이 연구는 그림책작가 홍성찬의 작품 활동과 그림의 특징, 작가정신을 고찰함으로써 한국그림책역사에서 그림책작가 1세대로 자리매김한 홍성찬의 의미를 살펴보는데 목적이 있다. 1955년에 삽화가로 활동을 시작해서 2012년, 마지막 그림책을 낼 때까지 홍성찬이 걸어온 길은 한국그림책의 발전과정과 궤를 같이한다. 그는 삽화가라는 직업이 주목받지 못하던 시절부터 전집 시절을 거쳐 그림책작가로 생을 마감할 때까지 일관되게 출판일러스트에 전념하였다. 그 결과 철저한 고증(考證)을 통한 한국 고유의 이미지와 정서 재현이라는 독보적인 작품세계를 구축하였다. 그가 일생 동안 견지한 삽화정신과 장인정신은 전업 그림책작가라는 직업군 탄생의 밑거름이 되었고 홍성찬은 한국그림책역사에서 그림책작가 1세대로 자리매김을 하였다.

• 조형예술학연구
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• 제6권
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• pp.5-32
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• 2004

Kim Hwan-ki's New York Period works consistently present, as the central signifier, a curvilinear paradigm which has been derived from his creative consciousness. The purpose of this study is to bring to light what exists behind curvilinear paradigms; a fusion of history and society with the artist's individual consciousness as a fused aspect of history and society. To make this aspect suitably understood, this study focuses on curvilinear signifier which are analyzed and considered objectively. The results of which are as follows: It is a representative example of transforming a curved line which is the modern quotation of traditional Korean art, most directly works done in porcelain. He takes the aesthetic consciousness of Korean art as the power of his works and takes aim at the collective consciousness of all races. Looking through the background of his times, his artistic subject was to find the ethic characteristics of our excellent tradition and highlight them in his art. To him, art is not about making the most of a skill but instead about allowing one's inner spirit sing it's own song. This thought is conveyed in curvilinear signifier of his works. Therefore this study has asserted that Kim Hwan-ki's curvilinear signifier in his New York Period works has strong ties to the cultural vein of Korean history and society at it's base as well as simply in his individual level. This assertion is not to set form in a superior position as a Formalist but to show form as having the will to deal with the significance of an artist's mode by interpreting the experience of the interpreter.

• 한국의상디자인학회지
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• 제19권2호
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• pp.79-90
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• 2017

The main purpose of the study was to explore effects of selection criteria of collaborating fashion companies on the partnership growth of collaborating artists with those companies. Secondly was to find differences in the selection criteria of collaborating fashion companies and the partnership growth of collaborating artists according to the characteristics of artists including gender, age, frequency and time period of collaboration. The questionnaire was developed by the researchers and was collected from 50 artists with experience in collaboration with fashion companies. The questionnaire was composed of three parts including the selection criteria of fashion companies, partnership growth measured by a Likert-type scale, and characteristics of artists measured by a nominal scale. Data were analyzed by a frequency test, factor analysis, reliability test, regression analysis, and independent sample t-test using SPSS Win 18.0. The results of the study showed that significant effects of the selection criteria of collaborating fashion companies on the partnership growth of collaborating artists with the companies. Also, there were differences in the selection criteria of collaborating fashion companies and the partnership growth of collaborating artists between artist groups according to the characteristics of the artists including gender, age, frequency and time period of collaboration.

• 복식
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• 제66권3호
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• pp.51-74
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• 2016

The purpose of this research is to analyze the relationship between the inspirations and designs of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W. The specific questions of this research are as follows: what are the important design features of the Dries Van Noten's Mixed collections from 1985 S/S to 1991 F/W? What are 'the roots of inspiration' of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How can the roots of inspiration be categorized and what are its features? How did these roots of inspiration influence the Noten's designs? The paper is a reference of how ideas turn to practical works, and what the relationship between inspiration and design. Researchers utilized a qualitative research method providing a systematic review of the previous studies by analyzing the content. To conclude, roots of inspiration of Dries Van Noten's Men's collections can be classified into nine categories: 'Interpretation', 'Ethnic', 'Multiple Contents', 'Subculture', 'Region', 'Artist', 'Fashion Item', 'Sports', and 'New Trend'. Through the roots of inspiration, sensibility of Belgium, England, Italy, French chic, inquiry of ethnic, artist, sports, the neuter gender image, 1950's, 1960's & 1970's trend & style of street fashion, elegance for men, romanticism, zoot, rock 'n' roll, teddy boy, mods, punk, new romantic and 19th century's Anglo-Saxon style are extracted and applied to the designs through cross impact. The identity of Dries Van Noten's Men's collections are cross culture contents and harmony of the old generation and new generation.