• Archives of design research
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• v.12 no.3
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• pp.143-152
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• 1999

Although in art an idea which visualizes a certain concept is generally such an essential part as it would be decisive to the success or failure of an art work in reality various difficulties are involved in idea making. Thus, directions for the idea making for visualization works are suggested in this paper. This paper classifies several cases of expression skills among non-abstracts showing the contents which visualize abstract concepts in western art after Renaissance when freedom of individual artistic expression and personal characteristics initiated. Also, this paper selects and introduces art works in which expression skills can be obviously explained. The expression skills are divided into symbolizing, allegory, specific pattern, non-abstract skills of surrealism, metaphysical distortion of logic and situation fixing, and specific examples on how the abstract concepts are formed and delivered are described. This is a case study done for the purpose of supplying help for the idea making in the applied art field which is lack of this kind of study.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• Journal of the Korean Society of Costume
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• v.38
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• pp.123-142
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• 1998

본 논문에서 패션 디자인(fashion design)을 평가하는데 있어서 새로운 방법론적 접근 방식을 제시해 보려하였다. 즉 패션 디자이너의 디자인에 대한 철학을 이해함으로서 패션에 대한 근복적인 면에 대해 보다 나은 이해를 갖도록 하는 접근 방식을 모색하려는 것이다. 본 논문의 분석대상은 디자이너 루디 건라이(Rudi Gernreich : 1922-1985)와 그의 작품들인데, 그의 작품들에 나타나는 급진적인 성향 뒤에 숨어 있는 그의 디자인 철학을 집중적으로 분석함으로써 작품과 철학의 상관관계를 조명하려는 것이 그 주된 목적이다. 기존의 그에 대한 평가는‘파격적 패션’,‘소설 스테이트먼트(Social Statement)’,또는‘시각적 창출’등의 표현으로 극히 피상적인 것이었다. 반면에 그가 어떠한 경로로 이러한 디자인을 구상하게 되었는지 또는 그가 현대의상에 얼마만큼의 영향을 미쳤는지에 대한 연구는 극히 소수에 불과하였다. 본 논문의 초점은 건라이의 패션 디자인을 그가 중요한 가치로 믿고 있었던‘개인적 자유에 대한 추구’의 반영으로써 재 평가해 보려는 것이다. 이것의 입증을 위해서 그의 디자인들을 역사적, 사회적 그리고 미학적인 관점에서 분석하였다. 먼저 그의 디자인 철학을 도출하기 위해 그의 개인적 배경에 대한 상세한 검토를 하였고, 그의 디자인과 관련된 자료와, 현존하는 작품들과 그에 따른 참고문헌들에 대한 분석 조사 작업을 하였다. 이 작업을 통해 필자는 건라이의 작품들을 세 개의 주된 주제들, 즉,‘부분적 누디즘(Partial Nudism)’,‘유니섹스 모드(Unisexs Mode)’, 그리고‘옵 아트 패션(Op-art Fashion)’으로 구분하였다.‘부분적 누디즘(Partial Nudism)’과‘유니섹스 모드(Unisex Mode)’는 60년대 중반에서 70ssu대 초반에 출현한 유스 컬츄어(Youth Culture)에 부합하는 그이 디자인의 반영으로써 성의 혁명, 여성 인권운동과 동성애자 인권 운동과 같은 사회이슈들과 그의 디자인이 갖는 상관관계를 보여주는 것이다.‘옵-아트 패션(Op-art fashion)’은 건라이 디자인의 미학적 요소에 초점을 맞추고 있다. 그의 작품에 나타나는 인체와 옵-아트 원리의 관계를 조명해 보고, 건라이가 옵-아트와의 연계하에 그의 디자인을 어느만큼 예술적으로 승화시켰는지를 보여주고 있다. 각 주체들은 건라이 작품들의 개별적인 분석을 통해 논하였다. 본 논문은 보다 넓은 관점에서의 건라이의 디자인에 대한 재 평가로 결론을 지었다. 이러한 재평가 작업을 통해 패션 디자인계에 미친 그의 공헌의 역사적 중요성을 강조하고 현대 패션에 그의 영향이 계속 미치고 있는 이유를 설명하려 하였다.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.35-48
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• 2003

The primary goal of this study is to define the future image of modern fashion. By review of many references, this study has examined predictable future in common, various researches on future, and futurism that appeared from art history. This study has also identified the trend of future image and the properties of the image in terms of fashion as well. The purpose of this study is defined as future image of modern fashion. First of all. through a large literature, this study is to examine general future and the study of future, to investigate futurism appears from art history. and to identify the trend of future image and the properties of the image in terms of fashion. The main results of this study include : 1) General future means forthcoming sometime or a state of life at that time, and future is not drawing near naturally in accordance with the passage of time. The future is developed according as which the owners of time have independent meaning and what they select. 2) The futurism had started with the background based on Darwins and Einsteins scientific theories and Bergsons and Nietzsches philosophical thoughts, which was then established by Marinettis Futurism Statement and Dynamism Theory of Umberto Boccionio, Giaomo Balla, Luigi Russolo and Gino Severini. As the purpose of futurism is to represent the dynamism of machinery and the beauty of speed, it has been developed toward op art and kinetic art including video art, laser art, and holography. 3) Fashion style and trend of futurism from the beginning of 20th century up to now can be defined as follows : Firstly futurism fashion represented by loud colors and geometric pattern appeared from 1910s to 1930s in the first place. Secondly, or art fashion and kinetic fashion appeared in 1960s due to the influence of op art and kinetic art which were developmental arts of futurism paintings. Space Look and Cosmo Corps Look that were designed by Andre Courreges, Pierre Cardin, Rudi Gernreich and Paco Rabanne, were also the trend of future image fashion. Thirdly, various materials and techniques developed this future image fashion in 1980s, and Glitter Look and Collage Look were its representative style. Fourthly, in 1990s, human beings dreamed the freedom of mind by human-oriented thought. and created the ecology of new concept mixed with technology due to anxiety on environmental destruction. which influenced on the advent of Zen style.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.41-50
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• 2011

The purpose of this study is to help understanding of fun image in fashion & pattern to play a guideline's role in the development on fashion designs study. The methods of this study are academic literatures as well as practical study through case studies about actual works. Formative characteristics of fun image in fashion & pattern are summarized amusement, unexpecting, childishness, and incongruity as follows. First, Amusement pursuits pleasure, freedom, vitality of living and getting away from reality, while doing the mind gently. Second, Unexpecting leads to stop a moment by unforeseen circumstances which gives embarrassing. This embarrassing induces new ideas that led to a larger perspective on the will from exhilarating fun of the thrill of driving pleasure on fashion. Third, Childishness shows a pureness and relaxedness by approaching for innocent and naive child's Sights away from the desire required adult social roles. Fourth, Incongruity aim for fresh of fashion through humanism and freedom in mechanized and standardized society Recently fun images have received attention is interpreted that joy, pleasure, enjoyment because fun image gives emotional comfort in uncertainty, dissatisfaction, and rapid changes society.

• Fashion & Textile Research Journal
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• v.5 no.1
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• pp.17-24
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• 2003

Objet, which showed up with the art of 20C, is now an important element giving a creative idea to fashion designers in modern times. The purpose of the study is to review how the objet technique was paid attention and recreated in the fashion, through the analysis of works, and the formative features of each technique for fashion, in order to identify the connection of arts and fashion, and the position of fashion as art. The techniques using object appeared in the 20th century fashion are as follows: First, papier-colle, which is adding printed materials onto the surface, is such a technique that adds cut-feeling materials to impose a new texture, or arrange again the cloth-cuts to create a different clothing from the existing one, which went to the extension of materials in the fashion. Second, collage of daily materials expresses directly and emotionally through direct presentation of the objets. Especially, collage of patch-work is reproduced into a new fabric depending on the objet used, giving a standing over the form. Third, ready-made which presents the material meaning only of the objet expands the range of objets which could be used in the fashion by introducing the daily materials having a meaning itself as a fashion. Forth, an attempt to approach to the objets of popular image by designed techniques come out in modern fashion as a graffiti look or a typography look, making the clothing itself an objet to transmit a message directly to the masses. Introduction of various objets and development of expression technique brought out the diversification of materials, and enrichment and extension of expression sphere, which resultingly spreaded the freedom of expression and progressed into the art sphere, making a direct motif to solidify its standing as a formative art.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.211-224
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• 2012

The performance-related industry has grown independently without being protected by the nation's great policy and legal boundary in the meantime. Even in the aspect of performance Act, the thoroughly pro-regulation policy on culture & art was taken while proceeding with segmenting the legislation rather than the freedom of performance art or the promotion of performance activity. Totally 17 cases of regulations including the abolition of scenario review system in January 1999 were fully abolished. Even 6 cases of regulations were steeply eased. Also, the importance of culture & art was recognized. Thus, to promote and support it in the governmental dimension, the substantial performance art policy system was adopted for training the performance art staff manpower and the national subsidy on performance hall. In performance art, the necessity of professionals' participation was imprinted such as stage lighting, sound, and stage machine. Accordingly, many regulations on performance art were all abolished except only the minimum issues for maintaining public order in about 50 years since the establishment of the government. 'Movie' was excluded from the definition of 'public performance' in 2002. Thus, the performance report system, which had been left institutionally from the Japanese colonial period, was eternally abolished. Following this, the performance Act was changed into the legislation of the supporting promoting policy, which reflected historical situation of needing to contribute to promoting public welfare, from the regulation-centered Act.

• Journal of Korea Game Society
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• v.17 no.3
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• pp.107-116
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• 2017

Sandbox game users can double their satisfaction by re-creating a variety of play patterns. This creative process is due to the expansion of play through 'customizing' and 'action autonomy'. The purpose of this study is to investigate the structural limitations of freedom of online game. In a standalone game, the scalability due to the degree of freedom gives the user a strong motivation for world persistence. On the other hand, in online sandbox games such as MMORPG, it is confirmed that the goal-oriented tendency to gain advantage is the inherent limit of the freedom and expandability of the sandbox game. In this study, it is suggested that the cause and limit of growth of online-based sandbox game can be offset by the optimal solution factor.

• Korean Institute of Interior Design Journal
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• v.15 no.4 s.57
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• pp.29-36
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• 2006

Fashion and interior architecture are two areas of design that may share common issues, trends and philosophies, making fashion design human's second skin and interior architecture the third. The concept of 'skin' has become one of the most interesting phenomena in design during the past decade and not surprisingly similar issues can be seen also in fashion and architectural design. The current trend in fashion design is that the skin (clothing) has become detached from the human body and extended into the environment, resulting fashion as art objects. Skin in architecture and interior design has also become detached from the structure so designers have more freedom to experiment by using advanced technologies. The present study attempts to analyze common features of 'skin phenomenon' in fashion and interior architecture that are; detachment, emphasis on space, extension, territorial blending, and digital applications. The researcher has used constant comparative method to categorize the five features among many examples. The limitation of this study is that it is focused on the formative phenomena of projects excluding the philosophies and personal background of each designer. However, it is hoped that the study may assist designers and other researchers to understand relationships between fashion and interior design, hold broader spectrum in art and design.