• 복식
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• 제50권
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• pp.69-84
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• 2000

Th purpose of this study is three folds: to analyze postmodern fashion through the notion of pastiche to enhance an understanding of uncertain and confused situation in the late 1990s and to suggest a way of approach to creativity and originality in recent fashion design. The results can be summarized as follows: 1. Pastiche is an art work that borrows some parts of other artists authentic works and recombines them thus imitating their style technique or motifs selfconciously. 2. Pastiche is based onthe Deconstruction theory: the end of art as a result of deconstruction of the subject the collapse of the meaning the loss of history: the late Capitalism in which reality becomes chage into images or simulacre. 3. Pastiche represented by the death of author which means the exhaustion of creativity is shown in the fashion borrowing subculture styles and art works or religious images. Pastiche fashion which is equal to the play of signifiers floated as image is shown as graffiti and objects Time and space pastiche fashion can be explained by historical eclectism and ethnic looks, Finally pastiche means not the fixed aspect but the open concept of indeterminate condition which includes " anything goes" through the coesistence of various style in pastiche fashion.

• 한국실내디자인학회논문집
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• 제13권3호
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• pp.153-161
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• 2004

Organic Modernism was inaugurated by Alvar Valto as an alternative plan to the formative limitation of Geometrical Modernism. It began to appear in the 1930s in the fields of Architecture, Furniture, Product Design and so on. It is known that began with organic formative language is closely related to surrealistic artists Andre Breton as well as other artists and sculptors in that era. Such Formative Language formalized a stream of Organic Modernism Furniture Design unique to the regional and cultural characteristics of Scandinavia. After crossing over to America, mass production of Furniture was born and new materials were linked by industrialization. The Characteristics of Organic Formation in Modern Art such as Three -Dimensional, Biological Morphological, Symbolical, Primitive, Fantastical, Non-Realistic, Incidental, Irregular, transmit to Furniture Design. They are as Characteristics especially with Three-Dimensional, Biological Morphological and Symbolical aspects. Histories of Art and design, there are some examples showing mutual Interchange between Functional and Artistic Character. This thesis also clarifies the Formative Relationship that the Furniture designers who pursued Functionality and Mass Production had obtained from Modern Artistic works and the Artists, through the process of comparing and researching the typical Artists and their works.

• 복식
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• 제50권6호
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• pp.47-58
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• 2000

This paper analyses the geometric aspect of Soma Delaunay's works on the basis of design elements and principles. Geometric pattern is one of the distinct features of early 20th century avant-garde works. The significance of its pattern and colour comes from the fact that it has not only influenced the contemporary fine art but also offered the basic principle of modern costume design. In 1925 she was designing clothes which could be worn today without appearing old-fashioned. She foresaw the future trends in fashion and interior decoration, One might claim she belongs to the avant-garde even today and no less astonishing a phenomenon than she was in 1925. Soma Delaunay's art was one of the first expressions of abstract painting and her "simultaneous contrasts"are among the earliest example of the aesthete. In Delaunay's geometric abstraction it is found that the technique of"simultaneous contrasts" is exploited almost without exception. colour as well as collage was the favourite technique Delnaunay used in creating a distinct simultaneity, Many "inobjective" paintings as she herself called unite the rigour of simple geometric forms with an inner life and poetry which emanate from the richness of the colour, the musicality of the rhythm, the vibrant breadth of the execution.rant breadth of the execution.

• 한국비블리아학회지
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• 제23권2호
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• pp.27-44
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• 2012

본 연구의 목적은 Getty 재단의 Cultural Objects Name Authority(CONA)를 분석하여, 그 결과를 문헌정보학 분야의 주제전거 개념 모형인 Functional Requirements for Subject Authority Data(FRSAD)에 적용하는 방안을 제시하는 것이다. CONA는 AAT나 ULAN, TGN과 같은 기존의 어휘제어 도구와 연계성이 뛰어나고, LCSH와 같은 도서관 분야의 제어어휘 도구와도 연계할 수 있다. 그러나 CONA는 도서관보다는 박물관이나 미술관의 관점을 기반으로 개발되었으므로 우리 분야의 표준과 정확히 일치하지 않는다. CONA를 우리 분야에서 활용하거나 연계하고자 할 때는 이 점을 고려해야 할 것이다. 본 연구의 의의는 CONA의 관점을 통해 문화 객체에 대한 접근을 제공하는 방식을 검토하여, 유관 분야의 기술도구에 대한 이해를 증진시키고 이를 우리 분야에서 활용하는 방안을 검토하였다는 점에 있다.

• 패션비즈니스
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• 제16권6호
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• pp.63-79
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• 2012

Modern art is getting more comprehensive and diversified regardless of genre in many forms due to the pluralism and anti-aesthetic trend of the time which is impacted by post modernism. This atmosphere is also applied to fashion illustration which creates synergy effect in cooperation with many different genres. This study selected Matisse' paper cut-out as the subject which would reflect the minimalism and ionism of modern plasticity. By taking this as the motive for fashion illustration, I made seven illustration works with the subject of minimalism of form and color. The conclusion of this study is as following. First, Matisse's paper cut out has controlled plasticity related to the modern ionism and it well fits the modern trend and sensibility which is appropriate for motive of fashion illustration. Second, by upgrading the technique of Matisse' paper cut-out in a modern way such as combination of hand drawing and computer graphic using Photoshop, I was able to make originative and creative illustration works with background and patterns that were closely connected with each other. Third, applying the fashion illustration to other various products is being well received now and I made my illustrations that could lead to follow up studies to apply the fashion illustration to other different products. Matisse' paper cut-our has forms, colors and patterns that can contain both commercial and artistic value. Therefore it is quite feasible for follow up research to apply into many different areas.

• 미술이론과 현장
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• 제15호
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• pp.31-49
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• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• 한국실내디자인학회논문집
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• 제21호
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• pp.147-153
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• 1999

Deconstruction, which aims at art for pure art's sake, along with post-modernism which pursues for de-unification and variety, is trend of design characterizing the contemporary society. Responding to this trend, in Korean the design which advocates post-modernism has been begun and the trend of deconstruction spreads among young architects and designers and this trend is shown in furniture, accessories and lighting design, as well as in interior desigv. This study is under the assumption that the movement of recovering the limits of the existing one is the thinking of deconstructiov. By analyzing and considering the theory and works of Peter Eisenman who shows the trend of deconstruction, this study tries to disclose the design theory of deconstruction and get the reasonable approach toward the progress of design resulting from the progress of human being, science, and humanities.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 1999년도 춘계학술발표대회 논문집
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• pp.141-144
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• 1999

After the Twentieth century, various movements appear by the sudden change of society. The minimalistic characters are represent in visual art, music literature and fashion. Actually Minimalism is started from the Visual Art in America at the 1960's. Minimalism seek the essence of object from the restorational character and it is characterized by simplicity, moderate design and color. Mies's "Less is More" is guiding the Architectual essence and based on the contemporary minimalistic Architecture. The purpose of this study is analyzing the characteristic tendency of Minimalism and considering the characteristic of contemporary minimalistic Architecture by studing Architects and works.and works.

• International Journal of Advanced Culture Technology
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• 제9권1호
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• pp.105-113
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• 2021

Through the analysis of Gerhard Richter's works of art in the period of "fuzzy image", this paper expounds the special internal quality of fuzzy image in Richter's works and reveals an important direction of the development of contemporary easel painting, The special essence of Richter's vague image is that he uses photos to reflect the power and authenticity of the existence of the objective things. He was not satisfied with the radical way of modern painting and tried to return to the traditional way of painting, but in fact Richter kept a special distance between classical painting and modern art. Richter not only blurs the image in his creation, but also shows that he wants to show the objectivity of things, keep the distance, authenticity and give up painting. Richter used fuzzy images to capture the concept of "visual unconsciousness", and finally separated from the concept. When we read how Richter showed the reality of things in the way of painting, we also saw a kind of contradictory psychology when he faced the complicated objective.

• 한국비블리아학회지
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• 제20권3호
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• pp.171-185
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• 2009

본 연구에서는 디지털 문화유산에 이용자들이 부여한 태그들의 특성과 패턴을 분석하였다. 이뮤지엄에서 제공하고 있는 '유물정보검색서비스'에서 문화유산 20개를 무작위로 추출하여 100명으로 구성된 이용자 집단에게 추출한 유물 이미지로 작성한 조사지에 자유로이 태그를 달도록 하였다. 수집된 태그 데이터의 분석은 주로 형태적인 특성을 위주로 박물관 디지털 문화유산 태그가 갖는 일반적인 패턴, 박물관 디지털 문화유산 태그의 기능별 구분, 박물관 디지털 문화유산 검색에서의 태그의 활용가능성을 중심으로 이루어졌다. 이러한 연구결과는 박물관의 디지털 문화유산 검색에 태깅 시스템을 이용한 폭소노미 적용을 위한 기초자료로 활용될 수 있을 것이다.