• Korean Association for Visual Culture
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• v.23
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• pp.329-368
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• 2013

This thesis investigates the relationship of the 18^th century European landscape painting and the scientific (optical) instruments like Camera obscura and Camera lucida. Based on the fact that some landscape painters, 'veduta painters', at that times might have used or surely used these optical instruments in their sketches/drawings, it explores the reasons for using them and their working process with them, and analyses the advantages/disadvantages here as well as the aesthetic problems in the cases of the Italian painter Antonio Canaletto (or Canal, 1697-1768), the British topographic artist Thomas Sandby (1721-98) and the British chemist/optician Willian Henry Fox Talbot (1800-77). Advantages of using Camera obscura/lucida are rapidity in drawing, truthful representation of nature/reality and 'accurate' fulfilling of perspectival structures. But partly 'inaccurate' or simplified depictions as disadvantages can be traced in drawings/sketches made by using these instruments. Another problem lie in the subordination of the artistic work to the technical devices, but for artists still remain the creative working process in painting like coloring, tone and chiaroscuro etc. Therefore, it can be maintained that the optical instruments have played a role of the subsidiary tool as an aid to painting.

• (The) Research of the performance art and culture
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• no.22
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• pp.413-439
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• 2011

This study aims to look for the proper directions of following and developing Gyeonggi sinawi dance in the fashion of Kim Sukja by closely examining its kinds and patterns. First, its characteristics and education reality were investigated. Second, the seven kinds of Gyeonggi sinawi dance Kim Sukja allegedly handed down (according to the 121st Report of the Intangible Cultural Assets) were concretely examined. Third, the composition of each dance pattern was studied. Fourth, various beats used in Gyeonggi sinawi dance were revealed. The late Kim Sukja had outstanding artistic talent and ability in Gyeonggi sinawi dance movements, musical composition, gayageum accompanied singing, and pansori episodes. Behind her were master singer Kim Seokchang (grandfather), father Kim Deoksun (belonging to Hwaseong Artist Board), shaman-mother Jeong Gwiseong, and great dancer Jo Jinyeong. Kim sukja's seven Gyeonggi sinawi dance types were bujeong nori, teo beollim, jinsoe, jeseok, kkaekkeum, ollimchae, and dosal puri (designated as Important Intangible Cultural Asset in 1990). Such beats as seopchae (dosal puri), mori, bal ppeodeurae, bujeong nori, ollimchae, jinsoe, and teo beollim (ban seoreum) were mainly used in Gyeonggi sinawi dance. In sum, Kim Sukja's dance was more than an individual's dance to represent the cultural types and life at that time in Gyeonggi-do and be a very important academic historic material. Therefore, it is the responsibility of the present generation to hand down and develop such invaluable traditional cultural materials.

• The Korean Journal of Archival Studies
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• no.80
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• pp.197-232
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• 2024

This study aims to understand archival art, which is spreading in the art world, and to look at records in a new way. Archival art refers to the act of creating and exhibiting art using records as a medium of expression. Archival art is attracting attention as a method of exhibition and creation of works, forming a trend in contemporary art. Archival art was born amid changes in art creation methods resulting from the rise of conceptual art, the development of media including photography and advancements in digital technology, and the influence of Foucault and Derrida's discourse on archives. The encounter between archives and art, which originated from photographic aesthetics in the 1920s, led to archival turn in contemporary art in the 1990s, thanks to the spread of conceptual art, digital technology, and postmodernism. Archival art not only subverts traditional art creation methods, but also includes criticism and deconstruction of social systems, including modern archives. Archival art rearranges and reorganizes records according to the artist's intention, and even accepts fiction rather than fact. The essence of records in archival art is not the reproduction of the past, but the expression of present needs. The way records are utilized in archival art shakes up the concept of records in archival science, calling for a new look at records as objects with not only legal and administrative value but also aesthetic value.

• Trans-
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• v.16
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• pp.69-105
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• 2024

The House that Jack Built (2018), a film about how the protagonist Jack is reborn as a "mad artist" with psychotic symptoms during a 12-year killing spree, provides an interesting opportunity to analyze the film in terms of psychoanalysis and religion. Jack, an engineer who suffers from OCD, finds pleasure in the accidental murder of a character and considers killing people as an art form, overcoming his OCD in the process. The question we are interested in is whether the symptoms of OCD are truly overcome by the act of repeated killing. The idea is that Jack's OCD is not overcome by killing, but rather that the symptoms disappear as he moves from neurosis to a stabilized psychotic state. According to the theory of the famous French psychoanalyst Lacan, the hallucinations or delusions that human subjects experience when they lose their realistic stability are a phenomenon that occurs when they are confronted with The Real, which penetrates through the cracks of the symbolic system. Phenomena such as Jack's illusory reality and delusions in the movie are pathological symptoms of the absence of a paternal figure in his life, causing the Name-of-the-Father to fail to take hold. This paper deciphers the psychotic structure of Jack, the protagonist of Lars von Trier's House of Jack, through Lacanian psychoanalysis.

• Cartoon and Animation Studies
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• s.37
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• pp.413-437
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• 2014

As the public Japanese art, print can be said to have started from Ukiyo-e print of Edo period(江戶時代, 1603~1867). Ukiyo-e(浮世繪) print, which 3 persons jointly produce, henceforth has gradually declined since the meiji period(明治時代, 1868~1912) due to the development of new print technique and introduction of western art. Since then, during the daiso period(大正時代 1912~1926), creative print movement grew up. Creative print is, differently from Ukiyo-e print, to be produced by one person, from the original picture to print, focusing on creating the artist's own work by being the main agent of the work. During before and after 1900s, print was evaluated low in Japan, compared to western painting, sculpture, etc. Nevertheless, the facts that several Japanese print artists received awards from international exhibits since 1950s became a big topic internationally, which became an opportunity to hold Tokyo International Print Biennale in 1957 in Japan, the first international art festival. From then on, print was recognized as an art genre while new recognition on it was gradually accepted also in Japan. In 1970, a controversy on it arose, while the characteristic of print as a medium of modern art became strong, accordingly, a controversy on it arose. However, in 1980, it firmly established itself as an art genre by overcoming the crisis through various efforts in the dimension of print artists and university education. Since then, print artists who produce new works with completeness by applying traditional technique and modern expression mode emerged, and until now Japanese modern print art is highly recognized by the world through the continuous overseas activities, research on print art, and cultivation of young print artists. This research looked back on the historical process when Japanese modern print art was created, which represents Asia, and investigated the cause that it could have win an international fame.

• Journal of Science of Art and Design
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• v.3
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.

• The Journal of Art Theory & Practice
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• no.6
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• pp.77-99
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• 2008

The purpose of this study is to show that the reason behind the ambivalent characteristic displayed in Niki de Saint Phalle's works is in her trauma and how such characteristic can be extracted from her works. During her creative years, Saint Phalle worked on various materials from different genres such as assemblages, shooting paintings, a series on Bride and Monster, 'Nana', 'Tarot Garden'and public sculptures. One commonality found among her various works is the ambivalent characteristic that contains contrasting elements simultaneously. Saint Phalle suffered a terrible psychological damage inflicted by her parents during her childhood. Specifically, she was sexually assaulted by her father and emotionally neglected by her mother, the trauma that affected her for the rest of her life. As a result, she came to develop extreme love- hate relationships with her parents and this became the main reason for the ambivalent characteristic displayed in her works. The love-hate relationship Saint Phalle developed can be identified through various researches done on the subject of the affect of sexual assault. It is common for incest victims to develop ambivalent feelings towards the perpetrator and Saint Phalle was no exception. Dissociation disorder and a snake well explain the trauma from her father. It is a generally accepted belief in the field of psychology that dissociation disorder commonly occurs to children who experience incest. And dissociation disorder is similar to the characteristic of ambivalence in the sense that a single entity contains more than two contrasting elements at the same time. In addition, the amputated doll objects used in her assemblages coincide with the expression of body detachment of people with dissociation disorder. These facts clearly indicate that the trauma from her father is showing through in her works. A snake is a subject matter that reflects the ambivalent tendency of Saint Phalle that resulted from her trauma. She remembers her father's rape as an image of a snake which is related to a phallic symbol in mythology or art reflecting her trauma. Moreover, she displays a similar pattern of ambivalent emotion like love and hate or fear towards a snake and her father. This is also confirmed by her portrayal of a snake as a monster or reversely as a creature with fundamental vitality in her works. The lack of affection from her mother can be explained by her mother's maternal deprivation. It appears that Saint Phalle's mother possessed all the causes for maternal deprivation such as maternal separation, personality disorder and inappropriate attitude towards child rearing. Especially, a study that shows mother's negative attitude towards child breeding tends to increase dissociation experience of children is another important evidence that supports Saint Phalle's dissociation tendency. These traces of Saint Phalle's trauma are clearly revealed in her assemblages and shooting paintings. The violent objects in her assemblages such as a hammer, razor, nail represent the rage and defensiveness towards her father. The objects such as fragments of broken plates of feminine patterns, pots and mirrors that her mother used symbolize the affection towards her mother. On the other hand, the destructed objects can be interpreted as her hate and resentment towards her mother. Shooting paintings contain her extreme fury and hate. Things such as acts of shooting and the image associated with blood after shooting are blunt expressions of her bursts of emotions. I have tried to define and classify the ambivalent characteristics shown in her assemblages and shooting paintings as hate, rage, violence, calm, love and pleasure according to the frame of Thanatos and Eros. Out of the six, hate, rage, violence and clam are associated with Thanatos while love and pleasure are associated with Eros and they correspondingly form an ambivalent structure. These ambivalent characteristics can be found in her assemblages and shooting paintings. The objects in her assemblages such as a razor, saw, hammer imply hate, rage, violence and the silence felt throughout her works represent calmness. And, as mentioned, the feminine objects can be seen as symbolizing love. In shooting paintings, hate, rage, violence can be found in the use of force and in the traces of watercolor after shooting, and a sense of pleasure in her feelings of catharsis after her shooting. Moreover, a shielded calmness can be found on the plywood all covered with plaster before the shooting. This study looked into the ambivalent characteristic of Saint Phalle's works by examining her trauma to find its correlation, and a meaning of this study can be found from the fact that it refocused the origin of Saint Phalle who is generally known as a feminist artist. Additionally, a meaning of the study can be found also from the fact that it examined the ambivalent characteristics of her works through a frame of Thanatos and Eros.

• Cartoon and Animation Studies
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• s.42
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• pp.293-313
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• 2016

The target stimulating human's sensitivity can include several things; the first is human like us including beautiful women and cute babies. The next ranking is the dog animal that established itself as a human's companion. It is the 3B law(beauty, baby, beast - much used in the ad or election due to the positive image) that is widely used in the advertising. This relationship is being expressed in the art history for a long time. Dogs that have lived a history more than 10 thousand years with humans hunted, protected flock of sheep, and kept the farmer's house and property. They have been human's assistants and companion who entered into the modern urban culture. Like this, dogs have adapted to several situations endlessly such as the nomadic life, farming, country life, and urban life. This paper will explore the close relationship of humans and companion animals through various icons of dogs and pups that appeared through a number of artists' skills. The companion animal means an animal that lives with people, which means the relationship of round-trip rather than the one-way relation those each other gives a help. Therefore, there artist tries to examine the figure of great hunter for survival, highly evaluated figure as the royal dignity, and the mascot-like figure delivering the daily happiness to modern people as presenting joy through a discussion of the 'countenance', a visual signal of the dogs and pups. They have been influenced by screen and popular media in 20C. Snoopy, a main character of and the movie <101 Dalmatians> made a success on the theater and television when Beagle and Dalmatian were prevalent. These main characters make audience feel happy involuntarily. Like this, the continuous and old friendship of the human and dogs will be confirmed again through the icon of dogs and pups consisting of the communication of artists and readers in the modern shape art, and it is hoped to be a psychological stabilizing effect to modern people living in the intense modern society. Therefore, it is expected this study paper will be reborn as a new text and be expanded as an effective communication in the journey of dogs and human in the future in investigating the communion of dogs and human.

• Cartoon and Animation Studies
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• s.50
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• pp.423-452
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• 2018

The possibility of future industrialization of artificial intelligence was studied through aspects of artificial intelligence art and movie. The field of artificial intelligence is developing by imitating humans through past and present, so it can be inferred that it is important to grasp the future image presented in movie and artificial intelligence art. Human values are represented differently in artificial intelligence films and arts. Artificial intelligence film and art are concerned with the external and internal aspects of human values, respectively. The AI movie looks at similar external aspects in human and AI shape and function, but artificial intelligence art deals with human alienation and lack of communication due to artificial intelligence technology development. Artificial intelligence in movies is a direction to visualize the imagination for artificial intelligence technology, and artificial intelligence art is expressed in the way of making and implementing works using technology. The future of artificial intelligence, which we have shown in imagination in movies today, is being realized technologically. Artificial intelligence art reflects the problems of artificial intelligence technology that can be appeared through current technology, and human problems that may arise from artificial intelligence technology development. Movies and artificial intelligence art reflect the current problems, and through them we can see the future of artificial intelligence. The future of artificial intelligence in movies is an artificial intelligence service that provides human convenience, cyborg artificial intelligence industry, industry that uses exoskeleton robot and exoskeleton suit, and artificial intelligence secretary. If we look at the future of artificial intelligence through the artificial intelligence art in terms of the problems of artificial intelligence technology and the problem of human value, there are artificial intelligence to learn from trial and error or mistakes, self-expression and communication by lifelogging, recovery of miscommunications by a reflective thinking, and an expansion of the area of artificial intelligence artist through human uncertainty. The future industrialization potential of artificial intelligence as study through aspects of artificial intelligence art and movie is an industry that extends the five senses, an industry that improves the insufficient physical ability of the human, an industry that enhances the physical ability of the human being, and an industry that maintains psychological and mental well-being.