• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.261-266
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• 2020

As pioneers of the early video art, Steina Vasulka(1940-) and Woody Vasulka(1937-2019) had lead not only their own experimental arts, but also entire changes of contemporary avant-garde performance, music, and visual art. Two artists invented and developed electronic machines for video image-processing by collaborating with engineers, and performed creative experiment on transformation of digital image. For them, video art is not just a means of documentation. The Vasulkas' artistic practices were not bounded by conventional canons and rules in art world, and preferably were parts of active aesthetic strategies for coexistence of vision of human and vision of machine. Particularly, their video art recognized the video as the key medium in an era where media technology began to dominate the system of communication, and established artist's authority over manipulation of moving image electronically without depending on video camera. In that regard, we can value on their video art. Therefore, the paper reflects on the Vasulkas' art and life which have not yet been studied, and suggests academic interests in the context of their artistic activities and aesthetic strategies.

• Journal of Fashion Business
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• v.20 no.5
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• pp.1-15
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• 2016

The purpose of this study is to interpret the artistic nature of fashion from the point of view of George Dickie's Institutional theory of art, which defined art from a sociological context. Five notions to formulate the institutional definition of art were regarding the artist, work of art, public, artworld, and artworld system. These notions were applied to the fashion world, and they deduced the definitions of a fashion designer, a fashion product, a fashion consumer, and the fashion system, which indicated fashion's social status in the art system. Firstly, a fashion designer plays a collective role in the product with an understanding of the consumers, professional knowledge of the design, and knowledge of making images of fashion products. Secondly, a fashion product involves artifactuality in the form of clothes created by collaboration among producers and it is transformed into fashion by collective activity of distributors and consumers. Thirdly, a consumer is a set of people who play a leading role in the assessment and consumption of the fashion product, allow the fashion designer to read his or her taste and reflect it in the fashion product although they are not directly involved in its production. Fourthly, a fashion system is a social framework for the presentation of a fashion product by a fashion designer to a consumer, and a social institution which enables clothes to transform into fashion through design, production, display, distribution, and sales. As a result, fashion is defined as an artifact in the form of clothes created by a fashion designer and presented to a consumer by the fashion system.

• Journal of Hospice and Palliative Care
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• v.23 no.4
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• pp.183-197
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• 2020

Purpose: In this study, the researchers closely investigated the psychosocial problems faced by terminal cancer patients and their family members in hospice palliative care units. Methods: The investigators conducted four sessions of art therapy intervention programs for the terminal cancer patients and their family members, carried out in-depth interviews about the influence of the cancer experience on their family function and quality of life, and analyzed their experiences using grounded theory methodology. Results: After providing autonomous written informed consent, six pairs of terminally ill cancer patients and their family members, accounting for a total of 17 participants with the inclusion of additional family members who took part sporadically, took part in the art therapy intervention and interviews. The raw data, in the form of verbatim records, were analyzed according to the procedures of grounded theory (open, axial, and selective coding). Through these processes, a total of 154 concepts, 56 subcategories, and 13 categories were identified. Families were classified into four types according to their family function, quality of life, and attitude toward death. Though the art therapy intervention, patients and their family members experienced three stages over time. Conclusion: This research focused on essential aspects of the family relationships and the art therapy experiences of terminal cancer patients and their family members through an art therapy intervention in the context of hospice palliative care. Based on these observations, the researchers constructed a theoretical rationale for art therapy interventions delivered to patients and their family members in the process of hospice palliative care.

• Journal of the Korea Furniture Society
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• v.21 no.3
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• pp.205-215
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• 2010

The professional alliance between disciplines of architecture and furniture design in the interwar years as displayed in the prominent architectural exhibitions of the era is interesting in the context of professionalization of American architecture. The way furniture design gradually became part of the architectural shows not only reflected but provided the practical field in which the architectural institution sought, under the new social order since the mid 1910s, a new professional cast-departing from the former milieu in the realm of high-art by the Beaux-Arts Movement. Exhibitions held by the Architectural League of New York in the 1920s revealed that the early impetus for reformation toward efficiency had been subsumed by the system of Beaux-Arts. By contrast, "The Architect and the Industrial Arts" show of the Metropolitan Museum of Art, in which the most prominent architects of the era exercised their professional expertise in the design of "Moderne Style" interior furnishings, clearly shows how architects, in the milieu of expanding commercial market, sought to align their profession as industrial designers.

• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.108-115
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• 2024

Contemporary Chinese "micro-perspective" painting is an artistic phenomenon that we cannot ignore. It is the young artists who focus on themselves and their communities, record their stories and emotions in their life fragments into the coming history, and diary paintings as "micro-perspective" paintings allow "marginal people" to find their place. Based on the analysis of the aesthetic form and aesthetic characteristics of Chinese contemporary art, this paper explores the three aesthetic dimensions and their inherent aesthetic value, and explains its significance from the perspective of "micro-view" aesthetics. In the contemporary context, "micro-perspective" painting has become a unique cultural phenomenon, a consciousness situation. However, this phenomenon has a very unique artistic value and cultural value for the youth art group and even the formation of aesthetic culture and zeitgeist in China's current society.

• Bulletin of the Korean Mathematical Society
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• v.54 no.2
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• pp.429-442
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• 2017

In the present paper, screen isotropic leaves on lightlike hypersurfaces of a Lorentzian manifold are introduced and studied which are inspired by the definition of isotropic immersions in the Riemannian context. Some examples of such leaves are mentioned. Furthermore, some relations involving curvature invariants are obtained.

• Asia Marketing Journal
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• v.12 no.4
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• pp.27-54
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• 2011

This research attempted to present the efficiency of culture marketing to the organizations producing culture-art products and to the companies utilizing art and suggest the practical viewpoints to the culture and art policy agencies. The methodology used was to take an in-depth look at the consumer value cognition and benefits of culture-art products in contemporary consumption culture from a social context by conducting a total of 12 Focus Group Interviews, consisting of 58 males and females in their 10s~50s who can represent culture-art product consumers. The culture-art products refer to the artist's spiritual, actual act of creating or to the end products with economic exchange value. They are also sense goods and merit goods that affect the mental state of consumers. By looking at culture-art products as consumer merit goods, this research examined consumer value cognition of culture-art products based on the characteristics culture-art products. As a result, this research determined that consumers view culture-art products largely as 'aesthetic and sensuous merit goods', 'actual and individual merit goods', and 'social public property'. As 'aesthetic and sensuous merit goods', culture-art products are considered as the products of an artist's creative activities; as 'social public property', culture-art products have a public value in terms of ownership; and as 'actual and individual merit goods', culture-art products act on the spirit and reality of a consumer in terms of consumption. As a result of analyzing the benefits of culture-art products based on the above-mentioned consumer value cognition, it was observed that the benefits of culture-art-product consumption are chiefly divided into 'aesthetic character-oriented', 'social relationships-oriented', and 'individual benefits-oriented' depending on how consumers see culture-art products. A 3-conceptional structures model was constructed according to the relationship between consumer value cognition of culture-art products and the benefits. This research revealed that consumers who pursue the aesthetic value or sense of beauty as the central reason experience culture-art products themselves, enjoy intellectual quests, and pursue their satisfaction by expressing affection for and interests in culture-art products. On the other hand, consumers who pursue social value as the central reason as a means of communication by perceiving culture-art products as a public property of society, pursue sympathy with people close to them through the symbolic power of culture-art product consumption or the joy of self-display. Consumers who perceive art products as spiritual and actual merit goods and pursue consumer value as a central reason want to express their own personality, develop themselves, and differentiate themselves or identify themselves with others in the context of social relations for the ultimate goal of living a happy and satisfied life while pursuing to satisfy imminent and actual necessities as emotional stability and rest. The fact that culture-art product benefits could vary according to how a consumer perceives them implies that consumer value cognition of culture-art products and their benefits significant affect consumers' decision in choosing and consuming various culture-art products. It turned out that such benefits from the consumption of culture-art products reflect the complex contemporary consumption culture of rational consumption, symbolic consumption, experiential consumption, and social reflective consumption. This research identified conceptional structures of consumer value cognition on culture-art products and benefits that can be used for studying and understanding culture-art products consumers who pursue a variety of consumption values. They can also be used by private companies in utilizing art, as well as by national agencies in enhancing the population's quality of life. However, since this research could only conceptually grasp consumer perception of culture-art products and reveal the dimension of classification due to its own limitations arising from characteristic investigation, quantitative data on the benefits of culture-art product consumers should be measured in future studies through a quantitative investigation, while using the value cognition of culture-art products and the individual characteristics of consumers as variables based on this research.

• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• The Journal of Art Theory & Practice
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• no.16
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• pp.139-174
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• 2013

Pliny the Elder said that multiple cultures agree that the painting began as a shadow trace. A daughter of Butades, the potter in Corinth, traced an outline around a man's shadow, and it was the very beginning of painting. In this anecdote, the profile, i. e. the portrait substitutes body of the absent lover. It makes the absent body present and replaces his place. In this context Hans Belting put the anthropological value to this visual practice. Human being made images to cope actively with the shock of death and the disappearing of body. With the aid of the representation of the bodily presence, the image struggles to resist the death. This paper is a study on the critical meaning of representation in the context of bodily survival by image. The representation is the paradoxical trick of consciousness, an ability to see something as 'there' and 'not there' at the same time. So the connection between image and the body would be suspicious. Although this relation was tight in the ancient shadow painting and the medieval effigies, the modern visual practice forsakes this connection and exposes the trick of representation. It insists that image was not real and even expels the medieval visual practice from the boundary of fine arts. The genealogy of the portraiture is formed by two different visual practices. The belief and the disbelief in the image are observed in the process of representation and anti-representation, and this ambivalence transforms the ontological meaning of portrait in the visual representation.

• Korean Institute of Interior Design Journal
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• v.25 no.6
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• pp.127-138
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• 2016

As the dark side of society, Idle spaces, which occurred with the paradigm change due to rapid modernization and industralization, has been existing as a severed part in cities. But with the periodic change, interest in the existing place and regional regeneration, and the necessity of reconsidering about the idle spaces values of space, city environment, socio-culture, and economy was proposed. I estimated that the change of relational aesthetics aspect of modern arts resulted in the consideration of recognizing 'place' of art, through the study, it was revealed that the form of modern arts and change of enjoyment were related to space, and the fact that this had a relation with the rise of artistic regeneration of idle spaces. mutually communicative relationship formation and practical form of arts was deducted through the interpretation of relational aesthetics, Idle spaces and artistic regeneration space can be categorized into forms of experiential space, creative space, and cultural space, depending on the formation of relationship between author-art-audience. Through the comprehensive analysis, Artistic regeneration space by relationship formation is Vitalization of various forms of art and participation program eliminates the boundary between creation and enjoyment, and the space itself can be said to contain extensive, integral, and nonterritorialization meaning as a place of experiencing art. In other words, Artistic regeneration space of idle spaces forms a close relationship with the local society, and is placed within the context of daily domain as an open space, straying off from the existing separative and closed artistic space configuration. and artistic changeover of idle spaces is not only the appearance of space that simply fulfills function according to transfiguration of modern art, but signifies that art is coexisting with space as an indivisible relationship, and can be said to be the foothold of new relationship creation as the practical 'place' of art.