• 한국가구학회지
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• 제25권3호
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• pp.165-172
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• 2014

3D form study is one of basic subjects in industrial design education. There are an array of textbooks of visual art, design and architecture, most of which address basic geometrical form study and abstract forms. With the introduction of computerization, current trends are directed to reduce basic form education and students' participation in classes and their accomplishments. This study was intended to develop works under a theme of furniture design with concrete shapes and functions. This study focused on developing relevant process by fusing 3D form study and furniture design which fall into basic design and design studio subjects, respectively. Among 3D form studies, applied were a concept of 3D configuration that explores the relations between surface forms and 3D forms. Furniture design is a challenge to students at beginner or intermediate level in basic design education from initial devising stage to production in kind. To ease high level of difficulties at designing and producing stages, technical education was systematized in the process of conceptualizing, developing idea and production. This type of challenge was carried out during separate semesters, along with a case study done to develop different types of challenges. This study helped students to be motivated and actively participate in classes and well perform advanced form study and technical training from design to actual production.

• 한국실내디자인학회논문집
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• 제26호
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• pp.104-111
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• 2001

This study deals with the expressive characteristics of Installation Art and their applicability to environmental design, and as such, aims to specify a artistic methods from the contemporary art. What Installation Art is search of in their works is "the state of relationships" which is "to replace the concept of form with that of structure, and the concept of space with that of the environment" that is, the terms of relations in the overall environment of time and space. Installation Art essentially relies on a multiplicity of forms and attitudes leading to projects which positively make use of "spatial-temporal process" to reaffirm and "problematise" their open-endedness manifest in complex contextuality and shifting temporality. This study presents a new interpretation of spatial-temporal dimension, site-specificity, and intermedia art that we find in Installation Art and tries to combine that new artistic insight a with environmental design to provide a basis for integrated art. This study places a great emphasis on the interdisciplinary approaches to the environment we inhabit, which I hope will contribute to generating a greater number of creative possibilities for environmental design.

• 복식
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• 제57권4호
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• pp.30-44
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• 2007

This research searched characteristic of expression of Surrealism in Fashion Art which is new genre as source of design origination and classified as type of Time, Instinct, Existence and analyzed these and after analyzed result, it tried to verify the value aesthetically and followed by compared characteristic of expression in Surrealism appeared in Art based on content of type of expression that deduced and discussed it. Also comparing common characteristic appeared in Fashion Art in surrealism of the east and the west, it suggested discussion that try to find out identity that draw more near to Fashion Art. Results of research are as following these; Surrealist deliver sentiment and emotion that impossible to happen in reality and primitive thought by combination of unrealistic image and this tendency concreted by expression of Time, Expression of Instinct, expression of Existence. It appeared that deconstruct function and purpose of Fashion Art and existing traditional beauty of form and it is in collusion with way of expression of modelling used in Art of Surrealism those are Irregularity, Disorder, Imperfection and Dissymmetry.

• 한국가구학회지
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• 제12권2호
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• pp.91-103
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• 2001

Modern Art Furniture has been represented new idea and energy for futuristic furniture design by interacting and confronting with 3 points of view, which are; the idea and emotion of art, the form and concept of design, and the technique and materials of craft. Besides, meanings of modern Art Furniture are also can be described as followed. First, offend of concept of furniture design area to art, second, help to raise the social status of people by making art to be popularized, third, present a new direction of futuristic furniture design culture. Art Furniture design area, which has been trying to make a constant approach to human consideration and sensibility, leads new furniture design culture as an independent art genre in this 21st Century.

• International Journal of Internet, Broadcasting and Communication
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• 제15권1호
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• pp.70-78
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• 2023

Culture is the soul of tourism, and communication is the key to the inheritance and development of tourism culture. Therefore, culture and communication are essential for the development of tourism. Digital media art is a new form of art that combines technical, artistic, and media-oriented elements. Its artistic expression and crossover communication capabilities drive its usage in cultural tourism communication. This paper examines the influence of digital media art on tourism culture communication and development by elucidating the concept and characteristics of tourism culture communication and digital media art, applying the theoretical knowledge of communication, and deriving the specific characteristics of digital media art on tourism culture in terms of the transmission-reception relationship, content, medium, and effect. The role and value of digital media art in disseminating and developing tourism culture are discussed. We aim to provide valuable insights for the dissemination of tourism culture.

• 한국패션뷰티학회지
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• 제6권2호
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• pp.119-128
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• 2008

The surrealism art form comes from the world of unconsciousness. Based on its expression of the world of imaginary, it boldly demonstrates the arrangement and the forms of contradicted objects and the development of collage, montage, and protage techniques in the works which had a big influence on the growth of the modern art. The ideology and the modeling characteristics shown in the surrealism had various expressive forms and meanings in the modern compound expression and it grew out of the former standarlized forms and brought diversity and individuality based on the sensibility of the new avant-garde art form and showed great potential as it presented harmony in the multiple forms of art. The purpose of the research was to analyze the influences that were put on the surrealistic fashion art works and the works of the representative designer, Jean Paul Gotie. The characteristics of Jean Paul Gotie's surrealistic fashion comes from destruction, sexual image, and the mixture of heterogeneous. It is evident that the surrealistic fashion went beyond certain groups of avant-gardists' salvation of the world and were put to practice use, reaching out to the ordinary consumers. This was resulted from the revolutionary movement called, "anti-mode van fashion" led by Gotie. The surrealistic style will be led by various techniques and trends and developed through new characteristics in multiculture merged with various fashion styles.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.66-73
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• 2004

If we consider the origins of new architectural language in Russian, as opposed to its social dimensions, then we are looking at quite another area of pre-Revolutionary activity: art. It was Tatlin's early ‘counter-reliefs’ which first explored the way new materials might generate new artistic form. The Basis of his art is collage and the reality of materials. In 1915, he exhibited the first of his ‘counter-reliefs’, casual montages of pieces of metal that invade the space around them, making the decomposition of the forms three-dimensional. What is not in doubt is the primacy of materials in Tatlin's art. He was a key figure in the transition from art towards design and ‘construction’, the last was accomplished with ‘real materials in real space.’After the October Revolution, one of the central myths of avant-garde was the realization of a total work of art. The progress has developed in the directions to an unprecedented creative realm, situated somewhere between painting and architecture in the post-revolutionary period. Paramount among such pioneer works was Tatlin's design for a monument to the Third International in 1919. Here In an artistic form, his investigation of ‘material, volume and construction’ was clearly embodied. In the comtemporary architecture, Tatlin's concept has been a great influence on the various tendencies of spatial expressions. For example, the architecture with concept of ex-formality has many varied aspects of space composition - dynamic forms with plasticity of concrete, ex-cubic composition with free walls, disposal composition by geometric collision and superimposition, and etc.

• 복식문화연구
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• 제14권4호
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• pp.670-683
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• 2006

Such trend offers new fashion designs as a formative art with creative spontaneity. The purpose of this study is to seek to work out fashion design methods whereby fashions can be developed into an art form embracing handicraft premium textures, geometric formativeness and traditional beauty so as to satisfy the individualist expression desires of modern people who pursue practicality, originality, and beauty of simplicity. This art form also allows new images to be expressed. The corresponding methods studied include the space and technique of patchwork that can create artistry and aesthetic functionality into differentiated levels of images, and geometric ion from Mondrian' works. Fashion designs based on patchwork technique and the characteristics of Mondrian's works reveal that the patchwork technique using diverse materials is an artistic technique with high handicraft value. This technique provides new value to traditional aesthetic materials of clothing, and that Mondrian's unique designs are very effective in developing new fashion designs because they provide artistry and unique effects to modern fashion expression.

• 한국실내디자인학회논문집
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• 제26권1호
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• pp.142-152
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• 2017

This study investigated Renaissance and Baroque architectural characteristics found in contemporary public buildings in Seoul, which are National Museum of Modern and Contemporary Art Seoul Branch(MMCA) and Dongdaemun Design Plaza(DDP). Among H. $W{\ddot{o}}lfflin^{\prime}s$ five categories for Renaissance-Baroque art study, four categories (Clearness/Unclearness, Plane/Recession, Closed form/Open form, Multiplicity/Unity) are applied for the analysis as the architectural issues of Transparency/Concealment, Exhibited/Experienced Depth, Formal/Figural, and Composed harmony/Generated Unity. As a result, MMCA showed the characteristics of the extreme of Modern classic such as transparency, homogenization of space, formalism, and composition of multiple elements. Meanwhile, the study could find various Baroque characteristics from DDP such as separation of indoor and outdoor, phenomenological depth, rule breaking, and generation of figure. The study finally argued that DDP would not be an anti-modern, but try to inherit and overcome the modern architecture to explore different possibilities, and that the similar relationship between Renaissance and Baroque art could be found in these two cases.

• 미술이론과 현장
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• 제7호
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.