• International Journal of Contents
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• v.16 no.2
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• pp.41-50
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• 2020

This paper presents Reflectance Transformation Imaging (RTI) as a tool to support the study of paintings and authentication. Manufacturing techniques of the artist are reviewed through the comparison between liberal perspectives and digital imaging techniques. In this study, RTI was applied to focus on the detailed textural information of eight paintings by Korean artist Lee Ji-ho. The RTI result visualizes shallow reliefs of brush strokes and different mediums on the surface technically enhanced through imaging filters, and these morphological textures on the surface act as a key factor in understanding the characteristics of the artist. The surface morphology and art criticism work as qualitative indicators to analyze the change of artistic techniques through time, and the usage of different mediums. The results of this study confirm that the RTI technique can be used as an analysis device in the study of paintings.

• Proceedings of the Korean Society for Quality Management Conference
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• 2006.11a
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• pp.251-259
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• 2006

Evaluation of the work of art with intention of the artist different is not a possibility of free oneself from the limit which estimates an evaluation at value of appreciator. We tried new interpreting about the work of art in this paper. The work of art respects the intention of the artist to make it and interprets intention until now. After critics distinguish by a period, an area that they set to philosophical thought which is the time and interpreted. We set to each one subjectivity and interpreted between artist to make the work of art and appreciator. But in this paper, we tied various criteria which appreciates the work of art. We tried so that we presented the intimacy each other newly. Otherwise we tied with the subjectivity of the individual and are the try to be an objectification low through statistical technique. We looked into the culture and art in the introduction and explain the discussion about the work of art interpreting which the main subject. We set the category 6 area, and explain an each criteria explanation and assessment method. We tried to propose new interpreting as the intimacy to be multivariate data analysis result of the assessment analysis. Stopping from the thing which sees the work of art knows, it will be able to give meaning thing from this research prerequisite.

• Knowledge Management Research
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• v.19 no.2
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• pp.91-108
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• 2018

This study mainly focused on measuring the impact of comments for a particular song on the number of streamings and downloads. We modeled multiple regression equations to perform this analysis. We chose digital music market for the object of analysis because of its inherent characteristics, such as experience goods, high bandwagon effect, and so on. We carefully utilized text mining technique in accordance with the algorithm of Naïve Bayes classifier to distinguish whether a comment for a piece of music be regarded as positive or negative. In addition, we used 'size of agency' and 'existence of hit song' as moderating variables. The reason for usage of those variables is that those are assumed to affect users' decision for selecting particular song especially when downloading or streaming via music sites. We found empirical evidences that positive comments for a particular song increase the number of both downloads and streamings. However, positive comments may decrease the number of downloads when the size of agency of the artist is big. As a result, we were able to say that a positive comment for a particular song functioned as 'word-of-mouth' effect, inducing other users' behavioral response. We also found that other features of an artist such as size of the agency that the artist belongs to functioned as an external factor along with feature of the song itself.

• The Journal of Art Theory & Practice
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• no.10
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• pp.85-103
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• 2010

Mona Hatoum and community make unlikely bedfellows. From her beginnings as a teenage exile to her maturity as an internationally celebrated artistic nomad, Hatoum defies classification within any single geographical or cultural community. Attempting, however, to locate specific points of contact between her and certain communities in terms of artist-in-residence projects in which she participated might be a particularly fruitful way of circumventing her notorious critical resistance to identity and her refusal of homogeneity. This paper starts with Miwon Kwon's critique of contemporary practices in community-based art, which locate an essentialising force that isolates a single point of commonality and overlooks authentic differences. It then turns to Jean-Luc Nancy's reconceptualization of community as 'unworked' and 'being-in-common' to provide analytical tools for avoiding the dangers of essentialism. By examining the three residencies that Hatoum accepted in the mid-1990s in the light of Nancy's observations and theories, and by bringing the idea of artistic nomadism and that of community into juxtaposition, we hope to show that Hatoum succeeds in finding an equilibrium between art and community, and that this sheds new light on the issues raised in recent discussions on such relationship.

• The Journal of Korea Robotics Society
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• v.11 no.4
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• pp.293-299
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• 2016

In this article art performing applications of industrial dual-arm robots are introduced. It was real collaboration among robot researchers and artist. Artist designed the performance to use dual-arm robot. Robot researchers collaborated with artist by providing robotic constraints and configuring robot motion. Two art performances were configured with two industrial dual-arm robots. In both performance robots carry objects to be used as moving screens. Both performances rely on the high power and high precision of robots. In addition human-like appearance make those performances be familiar to public.

• International Journal of Advanced Culture Technology
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• v.9 no.3
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• pp.243-252
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• 2021

The Gwangju Daein Art Market, once declared as a declined market, was regarded as a success after an inflow of artists. However, the number of resident artists decreased from 100 at the end of 2015 to 39, to 9 in 2018, and to 6 in 2021. The project site showed signs of decline toward the completion of the project, leading to a Longitudinal study on the project's sustainability. The purpose of this study is to investigate the causes of outflow of artists and the network characteristics of the remaining artists from a sustainability perspective and thereby draw policy implications. As an analysis method, in-depth interviews and surveys were conducted. After that, we checked the remaining artists in 2018 and 2021 and identified the network characteristics. Based on the interview results, the causes of outflow were classified into programmatic, physical, and other factors. The results of a comparison showed that the levels of understanding, satisfaction, and frequency of exchange decreased. The study also provides policy implications. First, a sustainable, long-term program for the artists must involve the improvement of physical space. Second, participation in the market should be encouraged by working with artists on program composition or business progress. Third, programs for supporting exchange among artists should be further strengthened.

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.230-240
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• 2011

A gallery provides the function to make opportunities for artist to meet the customers who would buy the products from them. And there was performed the place where artist who production provider, planner, managers and private collectors met to distribute artworks and to educate fine art for public and provide a chance sending leisure time. We investigated this galleries at old urban center in daegeon region by the deep interview and Delphi method. A galleries was operated by a sense of duty and pride. Though its environment is poor, it grows up the young artist and art trends. By delphi results, the role of gallery is recognized as the discovery of an unknown young artist and provider of art trend and paradigm. Also they was recognized as the space for social and cultural responsibility operation culture. Galleries was recognized as key factors as literary value, marketability and harmony between gallery and artworks. Artist was known as a key factors as gallery's expertise, gallery awareness and capacity for artworks selling. Gallery will be considered the functions as the various cultural experience space and culture service space. Although galleries are passive and one dimensional functions.

• 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.

• Proceedings of the Korea Contents Association Conference
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• 2014.06a
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• pp.303-304
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• 2014

• Korean Architects
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• s.589
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• pp.48-55
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• 2018