• Journal of Digital Convergence
• /
• v.13 no.11
• /
• pp.409-415
• /
• 2015

Summary. With the advent of the internet and the concept of social network service, people of present days are flooded daily with new varieties of the communication channel. One of the most affected group of people may be singing artists. This over-growing number of communication channels pushes singers to put just as many efforts to establish and groom his or her unique identity as an artist. In old 'pre-internet' days, any singing artist's superficial features, like the tone of voice or stage presentation, were the only transcriptive criteria upon which the artist was adjudicated. New developments in technology, however, have set a new paradigm for singing artists of the present day. Respective criteria of today extend beyond the realm of music and comprise musicianship, requiring much scrupulous attention on the various area to propagate and protect one's unique identity as an artist. In light of this phenomenon, this study looks into Mr. Lee, Seung Hwan whom may undoubtedly be one of the most representative ballad singers of 90's. We can probably see his music in 5 features such as Rock Sound based on using various instruments, World Music Sound, Massive Choir, Challenge for the New Style, Lyrics of Life. As a singer-songwriter, he colored numerous albums and influenced the era, unlike many others. He still works vigorously, worthy of his epithet, a 'present-progressive' artist. The object of this study is how Mr. Lee has been proactively dealing with the phenomenon above.

• The Journal of Art Theory & Practice
• /
• no.10
• /
• pp.85-103
• /
• 2010

Mona Hatoum and community make unlikely bedfellows. From her beginnings as a teenage exile to her maturity as an internationally celebrated artistic nomad, Hatoum defies classification within any single geographical or cultural community. Attempting, however, to locate specific points of contact between her and certain communities in terms of artist-in-residence projects in which she participated might be a particularly fruitful way of circumventing her notorious critical resistance to identity and her refusal of homogeneity. This paper starts with Miwon Kwon's critique of contemporary practices in community-based art, which locate an essentialising force that isolates a single point of commonality and overlooks authentic differences. It then turns to Jean-Luc Nancy's reconceptualization of community as 'unworked' and 'being-in-common' to provide analytical tools for avoiding the dangers of essentialism. By examining the three residencies that Hatoum accepted in the mid-1990s in the light of Nancy's observations and theories, and by bringing the idea of artistic nomadism and that of community into juxtaposition, we hope to show that Hatoum succeeds in finding an equilibrium between art and community, and that this sheds new light on the issues raised in recent discussions on such relationship.

• Journal of the Korea Convergence Society
• /
• v.10 no.8
• /
• pp.255-264
• /
• 2019

This study focuses on the recent turnover of film crews in Korean film industry. Determinants that could have a significant impact on the turnover of film crews are identified through empirical research, in order to seek measures to prevent the loss of experienced film crews. In order for respondents to verify research questions regarding turnover of the film crews, ordered logistic and marginal effects analysis using SPSS and STATA are conducted with the data obtained by surveying 402 film crews in various areas. Data analysis revealed that the variables that have a significant effect on the turnover of film crews are artists' identity, job rank, career barrier and job satisfaction. The characteristics of risk groups with high turnover can be concluded that they are low in job rank and have many career problems, poor job satisfaction and strong identity as a labourer rather than artist's identity. Based on the main findings, practical implications are discussed.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.33 no.3
• /
• pp.379-390
• /
• 2009

This Study is a research on symbolic meaning and artist's will of Vivienne Westwood's works which provide a new vision on woman's body and clothes. For the literary research, this study investigates theories of human's body which are phenomenal body of Merleau-Ponty's, the relations between power and body of M. Foucault's, cultural and social body of E. Goffman's and habitus of p, Bourdieu's. For the case research, Vivienne Westwood's collections are classified into each item which exaggerating and distorting woman's body such as Mini-Crini, corset, bustle cushion, bum-pad, farthingale and tailoring suits. Also she puts man's clothes item such as codpiece into woman's body. Through all of these design, she wants to reinterpret the woman's body and self-identity. Vivienne Westwood dose not leave the past just as a historic trace but recreates with her way of creation. Westwood has presented the satire which leads the parody of past in her unique ways of thinking and interpretation which mix the ideology of the past and the presents. Those make her look back the history and culture and express her esteem for self-identity of woman. Vivienne Westwood's works express woman's power and freedom in modem society.

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

• Journal of the Korean Society of Costume
• /
• v.66 no.3
• /
• pp.51-74
• /
• 2016

The purpose of this research is to analyze the relationship between the inspirations and designs of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W. The specific questions of this research are as follows: what are the important design features of the Dries Van Noten's Mixed collections from 1985 S/S to 1991 F/W? What are 'the roots of inspiration' of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How can the roots of inspiration be categorized and what are its features? How did these roots of inspiration influence the Noten's designs? The paper is a reference of how ideas turn to practical works, and what the relationship between inspiration and design. Researchers utilized a qualitative research method providing a systematic review of the previous studies by analyzing the content. To conclude, roots of inspiration of Dries Van Noten's Men's collections can be classified into nine categories: 'Interpretation', 'Ethnic', 'Multiple Contents', 'Subculture', 'Region', 'Artist', 'Fashion Item', 'Sports', and 'New Trend'. Through the roots of inspiration, sensibility of Belgium, England, Italy, French chic, inquiry of ethnic, artist, sports, the neuter gender image, 1950's, 1960's & 1970's trend & style of street fashion, elegance for men, romanticism, zoot, rock 'n' roll, teddy boy, mods, punk, new romantic and 19th century's Anglo-Saxon style are extracted and applied to the designs through cross impact. The identity of Dries Van Noten's Men's collections are cross culture contents and harmony of the old generation and new generation.

• The Journal of Art Theory & Practice
• /
• no.15
• /
• pp.51-79
• /
• 2013

This paper examines the characteristics of post-modern self-portrait photography. Characteristics of postmodernism associated with the "loss of centeredness," such as the death of the author, interdisciplinarity, and intertextuality, brought about a number of changes within the self-portrait. The distinction between post-modern and modern self-portraiture can be characterized by the following qualities: appropriation, the use of photography, and the utilization of the human body as an art. The characteristics of post-modern self-portrait photography can be represented through the works of Cindy Sherman, Orlan, and Morimura Yasumasa. By presenting prototypical women in her works, Cindy Sherman not only represents images of those women, but also exposes her fictitious role in the work. She creates a distance between herself in the works and herself in reality and discloses a paternalistic gaze. Meanwhile, Orlan transforms her face into a distorted image and presents it as an alternative identity that is representative of postmodernism. She corrodes the standard concept of identity through plastic surgery and treats the face not as a place where the identity stays, but as a simple body part or fragment of skin. Orlan's post-human face is malleable according to the artist's desire to raise the issue of what the human face is, and opposes the structure of modernism. Morimura Yasumasa also appropriates images from masterpieces and presents a hybrid identity between Eastern and Western, male and female, original and replica, and subject and object. In order to dissect social prejudice, he puts forth every single structural dichotomy that coexists in his self-portrait and suppresses a strong ego. He also studies the relationship between 'seeing' and being 'seen' by trading the painter's role from that of the subject to that of the object.

• Korean Association of Arts Management
• /
• no.51
• /
• pp.167-190
• /
• 2019

Copyright law has functioned to certify the authorship and artistic identity of an artist as well as to remunerate the artist's labor in monetary terms. However, the legal stability of copyright law may be questioned and even challenged because it shares the ground with unfixed notions of the concept of art. This study is an attempt to find theoretical argument where such instability of copyright law stems from, by looking into the theories of Aesthetics and history of arts. The first argument builds up on the ambiguity of discriminating between the Aesthetic concept of expression and idea. The second argument illuminates how new conventions of creating art work and emerging ideals of making art prevents to accommodate copyright law in the fields of art. New art forms such as conceptual art and place specific art are such examples. Increasing role of public arts projects also questions the conventional adoptions of copyright law. Arts management is closely related with this phenomena since their job is to administer the complex situation of introducing artists to the knowledge of copyright law.

• Archives of design research
• /
• v.5 no.1
• /
• pp.37-44
• /
• 1992

Today, the art and the architecture face up to the problem of loss of direction. So, the derection of post have been lost. This phenomina cause the second loss of direction, because the mode of pre-modernism is underestimated. After all, the mode and philosophy of after-modernism face up to the new crisis of derection. Present artists, archtectures and designers have to acnieve new trial and study for estimation of aestetics and directions. Ultimately, constant exercise and study of philosophy, morpholophy, morphology, current mode and new materials is necessary to search a methodology. This all have to be accomplished by the clear philosophy. The original identity is formed in environmental basis. So, first, architectures, designers, and artist understand native identity, second, we sho have acadenical and practical faculties impose significance. In case of Europe, the change of mode have led paradigm of culture. The great change of social culture have come out the wave of revolution that cross in design, architecture and art. 1920's of modernism evolve 1960's completion. In the change of life style, functionalism have evolved postmodernnism. But, in this change we do not suggest the new derection that form concrete idea and sympathy. This phenomina appear in the end of a centry, and nowaday is that day. This trends effect on artists, architectures, and designers, and design and will be changed. Finally, we need to study of concrete and new direction in this circumstance.

• Journal of Science of Art and Design
• /
• v.7
• /
• pp.150-172
• /
• 2005

This is the one concept of the Korea paintings which defines the korea Art sprite. The line of korea painting is very important. It is impressions, korea artist had mastered the difficult art line of representing movement. That offers the important motive, that is discovery of Identity. this korea painting's line is like to meditation. To meditate is to think and ponder about the same holy truth for many hours on end, to fix an idea in one's mind and to look at it from all sides without letting go of it. That is the purpose behind the greatest of the korean landscape paintings Futhermore that is the purpose Shui-Mo paintings. This is the most important. What the korean value most highly in art. There is something wonderful in this restraint of Korea art, in its deliberate limitation to a few simple motifs of nature. But today, anyone did not interested in this motif. So that Shui-Mo paintings did not concerned too. Therefore, we consider it childish to look for details in pictures and then to compare them with the real world. We masters to acquire such a facility in the handling of brush and ink that write down their vision while their inspiration was still fresh.