• 조형예술학연구
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• 제8권
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• pp.95-127
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• 2005

It's a matter of ontology rather than that of cognition and methodology to discuss a work of art in Gadamer's philosophy. In addition, he emphasizes the cognitive aspect of a work of art instead of comparing forms and contents of them. For that reason, he excludes aesthetic consciousness derived from Kant first and then makes away with Schiller's theory of aesthetic education. For Gadamer, the concept of truth does not mean accord or correspondence. It would rather be an encounter. This encounter is not axed on a specific time, but a continuous and historical one. Basically. a work of art guarantees this kind of an encounter. This encounter is not based on mutual agreement through an objective standard but on recognition with mutual understanding. Therefore, prejudice or tradition should be acknowledged and respected instead of being excluded. We have only to minimize difference between them through conversation. Gadamer's ontology of a work of art is based on such a ground. The function of a work of art is not only simple satisfaction of aesthetic senses but an object of interpretation, that is, a text by presenting a ground of truth through an agreement of situation. This text reveals its meaning in the situation of author-text-reader. The appearance of this meaning is nothing but the birth of truth. Symbol-allegory and classicism show how to express this kind of truth in a work of art. It is true that Gadamer's philosophical hermeneutics cannot be easily applied to interpret a concrete work of art because it just lays emphasis on the process of 'understanding' instead of a detailed analysis on an individual work. For that reason, he was criticized by some people because of this subjectivity of understanding. However, it's meaning could be changed according to the viewpoint on a work of art. There appears various structural approaches on a work of art in contemporary theory of art. Gadamer just asks the basis of such approaches instead of criticizing a specific one Therefore, a practical approach on individual work should be made separately and hermeneutics enriches the meaning of open-ending of each work of art.

• 조형예술학연구
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• 제3권
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• pp.225-247
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• 2001

The analysis of art work that is objective and theoretical needs the help of the cognitive psychology, for the pictorial semiotics requires psychology. The first step to the analysis of art work is about the visual elements and their relations. But the semiotics is lack of the method of the analysis of art work and the some authors don't have treated or been interested in psychological analysis. The main problem of visual semiotics is the density of pictorial representation. It makes the semantic of art work impossible at the very early process of analysis. But the density is not only a matter of visual representation, verbal language also has this problem. The point is that art work functions more art than denotation, but verbal language does more denotation than art. This difference makes difficult to apply the method of language or semiotics to visual art. The possibility of pictorial syntax or perceptual semantics should begin considering the unification of perception and semantics. In principles these two field can be unified. At atomism and holism these are parallel. Therefore perceptual semantics is possible The cognitive psychology can help to formulation of perceptual semantics. At first, the visual representation is incremental and it can be divided at three steps. In these steps each sensation, perception and cognition level has their own role. Perceptual representation of art work should be specified at these three levels. And each of these levels, the special properties of art work should be drawn and examined in the possibility of semiotics. The investigation of psychological levels and semiotic level should be circulated. It will help to formulate the method of analysis of art work.

• 한국조경학회지
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• 제30권6호
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• pp.98-108
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• 2003

The research purpose of this study, together with the study of Frank Stella's work and his expansion of the formative arts field, is to rediscover "Amabel" and to present a fresh perspective in evaluating and assessing environmental art objects. The results of this study can be summarized as follows. 1. The study investigated the effect how Frank Stella's work affected American modem art trends. 2. The study helped to re-evaluate Stella's work by examining its expansion into the plastic arts. 3. The study analysed the plastic works of Prank Stella and his effect on plastic arts within the modem art trend of America. In conclusion, Frank Stella played a leading role in today's American art style and had a potent influence on the trends of America's modem U. In recent years, his work has had an impacted on the design of parks and art galleries. America's industrial society is led by the growth of economic power and the development of science and technology. In America's architecture and landscape architecture, such new forms as minimalism functionalism, cubism and abstract expressionism, which have been influenced by art movements, emerged in California and the east coast. Influences of Stella such as these are the remedy for a vested stubborn concept of architecture and landscape architecture by introducing a sense of pictorial space in these fields. In landscape architecture, the introduction of art trends appears in several ways. Mainly the trend of Minimalist Art, influenced by Modernism, can be seen in much Landscape Architecture. Frank Stella contributed to the development of such minimalist art.

• International Journal of Computer Science & Network Security
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• 제21권4호
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• pp.229-240
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• 2021

The article seeks to explore Ukrainian media art and its features in a global context. In particular, it performs an in-depth analysis of the stages of its development from video art of the 1990s, media installations of the 2000s, and to various digital and VR technologies today. Due to historical circumstances, the development of media art was quite rapid, as young artists sought to gain new experience in media art. Most often, their experience was broadened through international cooperation and studying abroad. The paper analyzes the presentation of Ukrainian media art outside the country during 1993-2020 and distinguishes the main thematic areas of the artists' work. It examines how artists present and reveal the peculiarities of the Ukrainian worldview, aesthetics, and culture through the problematization of certain aspects and themes in their work. Specifically, among the principal topics which are problematized in the work of media artists are a sensory experience, limited sensory capabilities, gender issues, the Chernobyl tragedy, the development of utopian models of the city, and global communication. The leading themes of Ukrainian artists also include revolution and war. Notably, political and social sentiments determine the unique energy and vitality of contemporary Ukrainian art, create a revolutionary creative environment, and unite media artists in group art projects. It is concluded that by showing, exhibiting, and presenting them outside the country, artists shape the image of Ukrainian art in a global context.

• 보존과학회지
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• 제36권1호
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• pp.37-46
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• 2020

It is difficult to predict the kinds of damage to contemporary art because of the diversity of materials and experimental techniques used. This makes it hard to conserve. Furthermore, the artist's intention in contemporary art is emerging as one of the important issues to be handled in conservation treatment. Thus, collaboration with various stakeholders such as the artists themselves, bereaved family members, and foundations have become more important than ever from the viewpoint of planning conservation treatment. The trustworthiness of conservation treatment would be significantly enhanced if conservation treatment reflected the understanding and respect of not only the appearance of the work, but also the social/cultural context inherent in the work. This should be done, in particular, through collaboration with the artists. In this study, various case studies at home and abroad were analyzed as to explore collaboration methods with various stakeholders for objective and trustworthy conservation treatment. Along the way, the study raised the need to establish new conservation ethics for contemporary art. It is expected that the outcomes of the study could be used as basic material to preserve the originality of contemporary artwork and to set the direction for conservation practice.

• 조형예술학연구
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• 제13권1호
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• pp.39-60
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• 2008

Nature/Landscape is surrounding space in which we make living. It is considerably comprehensive tenn. but on the other hand, the site can be existence, experience, and certain circumstance with boundaries. Based on these places, through contemporary art criticism, this study is to contemplate how art since 1960s, especially, site-specific art in three-dimensional space intervene in the environment. Artists of today put more value on the process and act of art making founded on the external, and they tend to create the characteristic of site or to indicate linguistic documentation. Moreover, a large-scale tendency of contemporary sculpture and 'occupation of specific site' seems to accede spatial conception from architecture. The core that recognizes these artworks is with body, that is to say, the space in which Self becomes the subject by changing the structure of the work while moving around it. In particular, 'Site-specific Art (in situ)' sometimes determines the form inward or outward It also relates directly on viewer's five senses by looking, hearing, and feeling, touching, and interacting. For example, in Richard Serra's , the viewer who moves around the work has the role to manipulate the movement of the work by perception. Works of In situ and works that planned for specific site suggest 'occupation of site' as of the function of the work These sites are ideal and special as well as being independent. Ultimately, it seems that the creative process of contemporary artists is to carry those intended form on the structure of perception. Furthermore, law of nature such as entropy, and acceptance of contingency helped organic structure of artwork become more abundant. For Robert Smithson, entropy suggests of reaching to a state of equilibriumin which everything is the same. This means that any core is justifiable and any rank is possible. Because the world without a core is a labyrinth of boundless exploration.