• 조형예술학연구
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• 제5권
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• pp.131-158
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• 2003

• 한국가구학회지
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• 제20권6호
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• pp.543-551
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• 2009

The history repeatedly shows that designers have sought their creative inspiration from fine arts. was also influenced by contemporary art such as surrealism or installment works. This thesis aims to examine the inter-relationship between contemporary art and contemporary furniture design with examples of organic modernism and minimalism furniture design. Also, will be analyzed in light of such interdisciplinary relationship, explaining the significances of in scholastic perspective. The previous research analysis of finding out examples of how fine art and design sought mutual exchanges to develop will help to examine the significance of in the context of art history. This analysis could be used as an important academic material to understand the origin and characteristics of modern design furniture. The features of surrealism and minimalism will be discussed in light of their influences on and interactive relationship with organic modernism furniture design. This provides important basic material to further analyze . Furthermore, the artistic language and plastic features of contemporary sculptors and installment artists such as Jean Arp, Richard Serra and Anish Kapoor will be examined to show how integrated and combined main features of those artists. extracted cognitive and phenomenological aspects from Serra's works that overwhelm viewers with their massive scales. Somewhat abstract yet somewhat primitive and dynamic features of Arp's works was also referred to . are made of FRP, composed of three partitions and six stools. This work was analyzed in aspect of form, composition and function. They have organic and flexible formations with free composition availability which endow free disassemble and arrangement. Also, they have cognitive features as of small elements are freely dispersed upon spaces to bestow certain presences. Based on this, this thesis could develop scholastic researches that examine the mutual and interactive relationship between contemporary art and furniture design with much more detailed discussions and examples.

• 한국실내디자인학회논문집
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• 제21권3호
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• pp.128-135
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• 2012

The purpose of this study is to investigate and analyze the compositional elements of plan of art museums by selecting architectural works, which have strong symbolic meaning when evaluating value, from architectural works by Louis Kahn. First, the centrality of artworks, which are being displayed at the Yale Art Gallery, is complex. It includes three patterns of Void (spatial) Centrality+Symbolic Centrality+Functional Centrality among the five patterns suggested in this study. Second, the ratio system of interior space, which is expressed in the extension of the Yale Art Gallery, can be classified into the floor and walls. The floor used the square 1:1 ratio system. The ceiling used the grid patterns of equilateral triangles (regular tetrahedrons). It was applying a geometric ratio system when creating forms by using one side as a beam and the other sides as decorations of the ceiling. Third, the contours of interior space, which were expressed in Kahn's works, used the method of forming separate space according to the contouring rule (structural unit) defined by columns, and they were used in constructing the entire space through the integration of separate spaces. Fourth, according to the characteristics that were expressed by artworks displayed within the Yale Art Gallery Extension, the concept of accessibility was not as clear as that of residential buildings, because an approach of respecting existing architecture and context was used, rather than the starting point of interior space, or differentiated circulation, which has the function of a determined position.

• 한국실내디자인학회논문집
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• 제17권5호
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• pp.99-106
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• 2008

Based on extraction items derived from previous related studies on viewing experiences in art museums, this study is conducted to investigate extraction factors that affect viewing satisfactions and to suggest a guideline for an effective viewing environment by clarifying a hierarchy among the extraction factors. For this study, a survey was given to museum visitors, and statistical analyses were conducted on data obtained from the survey. The results of this study are summarized as follows; 1. From an analysis of extraction items that affect overall viewing satisfaction, space and art works were found to be relatively satisfactory. 2. From correlation analyses of extraction items, a degree of concentration on art works was found to most 'affect the viewing satisfactions of art museums. 3. From factor analyses, extraction items were reduced to 11 extraction factors, and a simple extraction structure affecting the viewing satisfactions in art museums. 4. From multiple regression analyses, a extraction factors were derived, and a relative hierarchy among the factors was found.

• 성인간호학회지
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• 제17권5호
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• pp.844-854
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• 2005

Purpose: To understand the meaning of death seen by nursing students through collage art works. Method: The qualitative research method and the content analysis were used. The text were collage and related essays written by 42 senior nursing students about the impressions on death through collage art works. Result: Statements were classified into three categories and seventeen themes. The three categories include "definitions of death", "feelings about the death", and "attitudes about the death and the dying patients". Conclusion: It is shown that participants recognize their position as nursing student, although they may not escape the fear of death, will learn to deal with death, and the dying in a suitably professional manner. In this respect, the study is considered to be helpful for the students in learning the knowledge and information which are needed for hospice nursing care more effectively.

• 한국콘텐츠학회논문지
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• 제12권8호
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• pp.178-186
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• 2012

본 논문에서는 디자인아트의 개념형성 과정을 연구하고, 이를 토대로 디자인아트의 의의를 도출하였다. 디자인아트는 1960년대 포스트모더니즘으로 형성된 탈영역의 기조 속에 90년대 새로운 예술 시장을 개척하기 위한 스타아티스트 및 스타디자이너 육성정책으로 작가로서의 디자이너가 탄생하며 활성화되기 시작하였다. 동시에 인터넷의 보급에 따른 정보의 대중화로 사용자의 자발적인 콘텐츠 제작 및 배포 활동이 가능해짐에 따라 디자이너가 독자적인 위치를 담보하기 위해 예술적 가치를 수용하게 됨으로써 디자인아트의 영역은 더욱 확고하게 되었다. 따라서 디자인아트는 '예술로서의 디자인'을 뜻하게 되며 디자인아티스트는 '작가주의 디자이너'라는 일반적인 의미를 획득하게 된다. 이는 2000년대에 들어 기존 아트갤러리의 디자인아트 수용 및 디자인아트 페어와 같은 새로운 디자인아트 시장의 형성으로 다양성을 확보하게 되었으며, 시장의 활성화는 디자인 생태계에서 새로운 개념의 디자인을 창출하려는 움직임으로 나름의 역할을 수행하기에 이른다. 이와 같은 내용을 토대로 현업에서 활발하게 활동 중인 디자인아티스트의 작품 분석을 토대로 디자인아트의 향후 발전 가능성을 살펴보았다.

• 동양고전연구
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• 제41호
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• pp.477-516
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• 2010

최근 한국미술사학계에서는 우리나라의 미술시장과 미술품 수장가에 대한 연구가 활발히 시도되고 있다. 이 분야의 연구는 명품대가(名品大家) 및 그 유파, 영향 등을 추적하고 분석하던 종래의 연구경향과 한계를 극복하고 미술과 사회, 미술품 유통과 소비 등 기존의 연구방식과 관점으로는 접근하기 힘들었던 주제에 접근하고자 하는 시도라는 점에서 의미가 크다. 이 글에서는 일제시기의 손꼽히는 서화가이자 수장가 가운데 한 사람인 송은 이병직(1896-1973)의 생애와 예술 및 수장활동을 살펴보고자 하였다. 이 작업은 필자가 최근 시도하고 있는 한국 근대 수장가 연구의 일환으로서 주요 수장가 개인의 구체적 삶의 양상을 복원하고 수장활동 및 수장품의 대강을 파악하는 데에 일차적 목적이 있다. 일제강점기 당시 굴지의 수장가 가운데 한사람이었던 이병직은 자신의 방대한 수장품을 1937년과 1941년 두 번의 경매회에서 처분하였고, 1950년 6.25 두 주 전에는 또 한 번의 경매회를 개최하여 전적류를 처분하였다. 이병직이 이처럼 자신의 수장품을 처분한 것은 교육에의 투자를 위함으로 여겨진다. 이와 함께 격동의 시대를 거치면서도 '국보' "삼국유사"를 안전하게 잘 간수한 사실은 수장가로서의 모범을 보여준 미담이다. 이병직이야말로 수장과 사회로의 환원 및 보존이라는 측면에서 모범적 수장가의 모습을 보여준 인물이 아닐까 싶은 것이다. 그러나 이병직의 일생을 제한하고 규정한 것은 그가 내시였다는 점이다. 이병직이 뛰어난 서화가, 중요한 수장가, 예리한 감식안이었지만 미술계에서 주류가 되지 못한 것은 그가 내시였다는 점이 가장 큰 요인이었으리라 추정되는 것이다.

• 패션비즈니스
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• 제14권1호
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• pp.163-175
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• 2010

This study is a part of the integrated investigation of the design of Yves Saint Laurent, and aims at examining the background of the appearance of art inspiration which the artistic quality and originality are particularly seen. And also, I would like to examine the source of the power that transcends periods, dealing with issues in the design. From the mid 1960 to 1970, Yves Saint Laurent who leaded the global fashion trend, displayed the Art Inspiration works with the innovation of fashion in Paris, rediscovery of the trends and colors in Modern Art, and background of Entourage and so forth. He brought in the various artistic genres to the fashion, and his Haute Couture collections which were created by the passion for the movie and theater art, expressed the freedom through his strong identity in the Modern Art & Culture and the atmosphere of that period. Eventually his works are reappeared transcending the generations as the fundamental power of Modernity, through the restricted line of his own, strong contrast of colors, and insight for the future.

• 한국실내디자인학회논문집
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• 제25호
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• pp.94-102
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• 2000

The line of demarcation separating architecture from the art in recent years has blurred, due to the expantionist aspects between. This is a study of the direction which contemporary architecture and art are now taking. The results of the study are as follows: 1. The direction of contemporary architecture is revealed through the works of deconstructivist architects and Hans Hollein. Deconstructivist architects have incooperated abstract forms and concepts for their expression. Also Hans Hollein has brought a new aspect to architecture by combining the aura of spirituality and the use of collage. 2. The direction of contemporary art is revealed through the works of installation artists. Daniel Buren works on the interactivity between the object and the observer. Dan Graham deals with the social issues which caused by the interrelation between the eyes and the visual media. Jae-en Choi works on the actual architectural site and space capturing the spirit of what the space is for shile Jung-hwa Jung deals with the layers of perception within a particular space. Another realm coming into being is the cooperation between artists and architects. The cooperation of Holl and Acconci is expressed through their joint project Storefront Gallery. It is the development of Accocis concept of boundary and Holls methodology. Another example of this realm is revealed through the Fish Gallery of the Guggenheim Museum Bilbao. Gehry was introduced to the nature of material by Serra and Serra learned of new ways of viewing the existence of space between materials from Gehry. These new relationships between contemporary architecture and art are reciprocal in nature are indicators of a dynamic and new changing cooperation now emerging.

• 패션비즈니스
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• 제11권5호
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• pp.90-99
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• 2007

Arts is the expression of reasoning and conscious life of human and arouse human the concept of existence, utmost emotion and excellent thoughts. Also it makes humans life very abundant. I make it come first to get rid of the art thirst on the opposite sight of technical one for hair as on part of humans body. Next purpose is that to confirm the esthetic value of 'hair arts' by solidify the academic ground of beauty arts through creating 'hair arts' works and learning and make the direction for the beauty industry and education of the next generation. In this study I investigated the Greek myth(the background and develop)and the hair styles of ancient Greek Goddesses. On the basis of that symbols I elaborated hair formative works made of metal and studied, analyzed and displayed that. Work No.1 'Aphrodite' is the sculpture showing the win of love which animated. I formed it very active and vigorous. Next 'Birth of Venus', No.2, involves fineness and freshness. 'Fear of Medusa', the third piece, displays the very second when medusa was executed as a beautiful and active scene not a scary one. And lastly in 'Lovely Medusa' Medusa finally find the stability and it was expressed her beautiful and shining hair. So this study conducted based on the concept of practical hair and have made efforts to be close to theoretical manufacturing research needed at making hair arts works and academic one needed at organic design composition for pioneering new field, 'art hair.' I hope these 'hair arts' works make creativity of the practise hair alive. It will be very thankful to me if this study can help even though slightly for splendid beauty arts to make its status firm as a one part of arts, and there are following studies.