• 한국실내디자인학회논문집
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• 제17권1호
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• pp.84-92
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• 2008

In the Relationship between exhibition space and art work in museum, new paradigm has being presented from 1990' s as a turning point. Even if the formal exhibition space that emphasizes itself as a background has currently being continued, the informal exhibition space is coming to the new art museums, especially after 1990's. This study is to understand how the advent of informal form of space in an exhibition of art museum makes a new paradigm in the relation between the exhibition space and art work in conjunction with public's perception after 1990' s that is identified to the time of Pluralism. To do this, the study raised a question on how the public perceive the relation between space and art work through photographs that contain the information on relation between space and art work. And the questionnaire performed through the curators who are working for art museum, students who studies fine art, students who studies design and public who comes to art museum. After survey through this questionnaire, it is made clear that the informal form of space simply has played a role of background since the beginning of art museum. In other hands, the informal form of space that is mainly presented after 1990' s begins to interrupt the public's perception of art work, changing it's meaning through a spatiality.

• 패션비즈니스
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• 제24권3호
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• pp.114-120
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• 2020

This paper is a study of culture and identity expressed in textile art works of the age of globalization, centering on the Beijing International Fiber Art Biennale. This study began with the idea that globalism would develop regional cultural diversity as well as contribute to the field of art. In 2000, the Beijing International Fiber Art Biennale held its first large exhibition, and a total of 10 biennales were held from then until 2018. Get an understanding of the Beijing International fiber art Biennale, and select award-winning works from one to ten times to learn about cultural characteristics and identity. The analysis was based on the works of awards from China and Japan, including Korea, which are the center of East Asian culture. The Beijing International Fiber Art Biennale has steadily increased the number of participating countries, writers and works, and once again opened the stage for the revival of textile art following the Lausanne International Tapestry Biennale. Through the Beijing International Fiber Art Biennale, textile artists hope to promote world harmony in textile art, respect cultural diversity and conduct equal dialogue between East and West cultures.

• International Journal of Computer Science & Network Security
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• 제22권9호
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• pp.343-347
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• 2022

To date, the use of artificial intelligence has already brought certain results in such areas of art as poetry, painting, and music. The development of AI and its application in the creative process opens up new perspectives, expanding the capabilities of authors and attracting a new audience. The purpose of the article is to analyze the essential, artistic, and technological limitations of AI art. The article discusses the methods of attracting AI to artistic practices, carried out a comparative analysis of the methods of using AI in visual art and in the process of writing music, identified typical features in the creative interaction of the author of a work of art with AI. The basic principles of working with AI have been determined based on the analysis of ways of using AI in visual art and music. The importance of neurobiology mechanisms in the course of working with AI has been determined. The authors conclude that art remains an area in which AI still cannot replace humans, but AI contributes to the further formation of methods for modifying and rethinking the data obtained into innovative art projects.

• 미술이론과 현장
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• 제7호
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• 미술이론과 현장
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• 제3호
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• pp.117-134
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• 2005

• 미술이론과 현장
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• 제6호
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• pp.147-163
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• 2008

The 1960s is a decade that is marked by new concepts of art making and art appreciation. Starting from Fluxus, the new art in the 1960s such as Happenings and performance art pursued the process of art making as an integral part of artistic experience. The traditional concept of art works that only appeal to vision soon became a site of contentious experiments and innovations in which the experience of seeing is accompanied by other sensual encounters of sound, smell, touch, and taste. These attempts can be seen as a revolutionary move to restore the sense of corporeality to the act of seeing that has been disembodied by the way in which western art has built the unifying, homeogenous field of vision. This paper delves into the works of Fluxus artists - Daniel Spoerri, Ben Vautier, Alison Knowles, Ay-O, and Takako Saito - who were central figures in taking art into the new age of post-ocularcentrism. Exploring the sense of smell, touch, and taste, these artists led the viewer to participate in their art making with the incorporated vision.

• 한국의류산업학회지
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• 제10권5호
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• pp.784-795
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• 2008

This study is a thesis about the hair art reflected minimalism which is expanded to various art fields using minimum formative measures minimalism is a kind of modern art trend. It is analyzed theoretically that the works of this researcher approaching minimalism and consideration of minimalism about hair, flexible clothes and artistic costume. It is defined that the "hair art" is "aesthetic hair", and I include my three works approaching minimalism that are researched, extended, made. I spread the works which have minimalism characteristic by design intent, concept, title, color, ingredient, size and detail, consider the hair art works theoretically and present the basis and method of scholar study minimalism art trend. I think that succeeding studies related to the hair art should be continued. I expect that various work activities of hair art artists and scientific breakthrough via theoretical thesis about the work of themselves.

• 한국가구학회지
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• 제26권4호
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• pp.291-300
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• 2015

The Netherlands' contemporary Art Furniture has drawn large attention from design and art fields all around the world because of Dutch designers' intriguing themes and experimental approaches. Its successful achievement not comes from certain policies or personalities, but the result of ceaseless internal criticisms and self examinations. After World War II, Modernism was the most common notion of furniture design for mass production in the Netherlands like other nations, but Dutch designers and critics put modernist canon up for discussion since 1960s. They have searched counter modernist design for expression of human element and warmth using art works, craft, and Postmodernism theory, etc. Throughout design debate of modernism, free design, design as art and conceptual design, now we could observe Dutch designer's unique and distinguished Art Furniture in the influential places. By analyzing the development of the Netherlands' contemporary Art Furniture in chronological sequences, we could understand them better and learn something useful to Art Furniture in South Korea.

• International Journal of Advanced Culture Technology
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• 제11권2호
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• pp.132-141
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• 2023

The purpose of this study was to understand the vivid realities of important technical and relational aspects of visual art that were emphasised during training by art therapy supervisors and educators. Max van Manen's hermeneutic phenomenological methodology was incorporated into the study. Summarising their main experiences, art therapy supervisors enabled experiences of reproducibility and immediacy in their supervision, and allowed visual art to be used as a tool to foster inner contact with their supervisees. To enable this experience, art therapy supervisors provided a creative foundation and a receptive environment that promoted creativity for supervisees to use and experience art beyond the role of passive viewers. The results of this research clarified how the participating supervisors interpreted the value of art therapy as a method to nurture the professional growth of trainees. Their contributions suggest experiences and methods that may effectuate future advancements in the field of art therapy supervision.

• 디지털융복합연구
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• 제20권5호
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• pp.275-280
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• 2022

본 논문은 비대면 미술감상 교육을 위해 사용자의 상황 정보 및 취향에 맞는 태그가 융합된 융·복합 예술 플레이리스트 콘텐츠를 사용자에게 추천하는 기술을 제안하고자 한다. 제안한 기술의 구현을 위해 예술 작품의 특성을 분석하고, 분석된 작품들의 태그를 기반으로 관련된 음악과 미술작품을 매칭한다. 또한 매칭된 작품을 활용해 융·복합 예술 관람 플레이리스트 콘텐츠를 자동으로 생성하는 기술을 제안하고자 한다.