• The Journal of Art Theory & Practice
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• no.10
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• pp.159-182
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• 2010

The article examines the attempts made at economic revitalisation of Ljubljana's inner city and the consequences or "collateral damage" of this process. A lot of attention is given to the wider socio-cultural context, in which art istic practices are embedded in the city, and to the Slovenian population's perception of such practices. Artistic groups and their practices are in this sense used as part of an 'interim development' strategy, i.e. temporary guests(non-statutory tenants) are warmly welcomed because their (sub) cultural capital happens to cultivate the area, making it "cool" and attractive, but when the value of the area's real estate begins to rise their low-income status does not grant them any tenant protection. Regardless of the social role they played in revitalising the city, these groups are therefore gradually ousted from neighbourhoods, which quite ironically are often advertised in the real estate market as the city's "Bohemian" or "cultural" quarters. This makes us aware of the lack of unique alternative or informal spaces, venues for alternative art movements and practices in the cities. These issues are presented on the cases of the alternative spaces of Metelkova and the Rog Factory, both located in Ljubljana'sinnercity.

• Journal of The Korea Institute of Healthcare Architecture
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• v.18 no.2
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• pp.45-54
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• 2012

The Act of Disability Discrimination and Rights Restriction was enacted in 2008 states that all services including cultural and artistic activities should be fair and easily accessible for disabled. The aim of this study was to determine how to improve the facilities and services for the disabled in Theater and provide complementary guidelines for amenities designed for people with disabled. The conclusions identified through this study are as follows: 1) It should be installed pedestrian safe passage so that visitors could access from the entrance of the ground to the seat in the theater. 2) Disabled seats install in a position to Emergency evacuation for people with disabilities, and it is recommended that general seats are placed side by side with Disabled seats. 3) It is analyzed services for the visually impaired and hearing impaired are very poor. Therefore assistive devices and human services should be provided to the visually impaired and hearing impaired. 4) People with disabilities can participate in the show as the performers, so it should be provided reasonable accommodations such as access to the stage.

• Journal of Conservation Science
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• v.26 no.1
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• pp.69-76
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• 2010

As the tangible evidence, documentary art records are permanent records to reflect the historical, symbolical, cultural and artistic value. Also, documentary art records are related with mission fulfillment of public institution and it is documentary with administrative, cultural and artistic values as the works of documentary production and application of the administrative image. "The public records management law" was the first time that administration documents were incorporated and in the act No. 3 of administrative records management, the preservation and management system of documentary art records became legislated. The management of documentary art records are difficult to categorize only by the reflect of characteristics or materials. Because documentary art records are collected in many ways and made with materials. It needs to be collected with many informations on basic materials and with the appropriate conservation and management category. Documentary art records do not have lots of demands but the level of consciousness is improving and the possibility of opening to public is increasing for improvement with the right to know. In near future, the documentary art records will be used for the interpretation of historical and cultural preservation and modern cultural heritage could have the value as it is expected. Primarily to prevent deterioration on documentary art records the standard survey card should be made to categorize the damage rate and to check the status on each documentary art records. In addition, establishing a systematic management plan for various documentary art records are needed with the training of professionals for the conservation of documentary art records.

• The Journal of Art Theory & Practice
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• no.2
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.196-217
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• 2016

This study was conducted to identify the state of conservation of the national paper heritages and to seek ways of conservation management, focusing on regular monitoring directly performed by the government on the national movable cultural heritages. Subjects for the investigation were limited to investigations conducted by both the Cultural Heritage Conservation Center and the Artistic Heritage Division in 2014 and 2015. Paper heritages are easily affected by temperature, humidity, lighting, etc. due to the nature of the material and can easily be damaged by physical strength; therefore stable conservation environment is essential and regular investigation on movable cultural heritages conducted according to the Cultural Heritage Protection Act is necessary to protect from contamination, being torn, bending, friction, or loss. Losing a chance for timely proper treatment will bring irrevocable result therefore strict management is necessary; continuous monitoring is also needed after treatment. Analysis on the pigments, materials and structures, detailed investigation, data establishment for conservation of cultural heritages and regular investigation should be done. Detailed data on the national cultural heritages will be a base of more reasonable conservation management system for the national paper heritages and will realize continuous improvement on regular investigation practice.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.1-9
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• 2019

In this paper, it is predicted that the tendency of planning and genre films to produce high - quality films will continue, but it is necessary to have high value and meaningful films and solid storytelling. From the blockbuster warships to arts and low-budget films, the movie genre is centered around fiction and storytelling. However, in the case of Princess Deokhye, it is difficult to recognize any categories of entertainment or artistic due to the fact that it is highly visually and has a high historical status and low awareness. And the distortions of the facts have caused a lot of controversy. However, it seems that Dongju and Park are usually composed of individual - oriented narratives and can be freed from the artistic approach and historical facts in the material. In addition, historical facts should not be distorted or exaggerated. Through this study,

• Korean Association of Arts Management
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• no.52
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• pp.5-37
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• 2019

Despite a copious volume of work on the relationship between social class and cultural consumption, scholars have paid scant attention to the increasingly apparent observation that a vast majority of the population exhibits indifference toward fine arts regardless of one's socio-economic status. Much of the prior literature on cultural consumption has treated the public's indifference to fine arts not as a distinct analytical category that deserves an explanation of its own, but simply as the opposite of "likes" or the act of consumption, let alone being disentangled from the concept of "dislikes" in taste-formation and consumption behavior. In this paper, we suggest that the seemingly increasing trend toward indifference to fine arts, especially among those who are part of the well-educated and economically well-off, merits close scholarly attention on its own term. As an initial step toward this endeavor, we explore the factors behind indifference toward fine arts among Korean middle-class, using the ground theory method. Our interview findings reveal that much of indifference toward fine arts is attributable to the lack of tastes in fine arts and artistic competence. Our results suggest that research drawing on Bourdieu's theory and Peterson's omnivore hypothesis needs to be further revised through an in-depth investigation of the institutional and societal contexts where art education takes place in Korea. We discuss the implications of our findings for policy-making in the cultural and artistic sphere.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.69-83
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• 2013

Clothes show not just the different social status of people, but the ideology and value of former society through pattern, colour, materials, shapes, etc. The purpose of this article is to fill the academic blank of this part by researching the pattern of fabric design in Jing Pai(Beiing style) and Hai Pai(Shanghai style) cheong-sam during the period of the Republic of China. The contrastive analysis of regional pattern between Jing Pai and Hai Pai cheong-sam expect to provide the theoretical basis for the former fashion designers and scholars. There are three approaches in the article: Data collection method, comparison method and Combining theory with practice method as film. Regarding components of pattern, both Jing Pai and Hai Pai cheong-sam have mostly single or composite pattern like plants. Further the most of Jing Pai cheong-sam pattern is traditional flower pattern. But Haipai cheong-sam patterns have some western flower pattern. Beside that, it have some geometry pattern. Regarding arrangement of the pattern, both cheong-sams have scattered dot style, the border style, and pictures style. But continuous type of Jing Pai cheong-sam is less while Hai Pai cheong-sam is the most. Comparing Jing Pai cheong-sam color of patterns in "Moment in Peking" is unadorned and types are simple as chinese traditional clothes; However, "In the Mood for Love" introduces us various material colors, new types of patterns and extraneous characteristic geometry patterns of Hai Pai cheong-sam. Generally speaking, the main characteristic of Jing Pai cheong-sam is traditional and conservatism. It keeps Chinese traditional pattern and culture to the most extent. However, Hai Pai cheong-sam are confluent and open with absorbed external culture and techniques which are endowed new artistic color.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.4
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• pp.74-81
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• 2002

Ihis landscape design was proposed for the Remodeling for the National Theater of Korea Competition. Today, the National Theater of Korea, located in Jangchoongfong, Joong-gu, Seoul, asks plans for renovation. The landscape design for the remodeling of the theater is conducted as part of comprehensive programs for its renovation. The Government sought design proposals through a design competition in April, 2002. The authors proposed a landscape design for remodeling the National Theater of Korea and won first place in the competition. The landscape design covers the following a survey of the present status, a site analysis, a schematic design, and design, development. In the authors'design, heavens, humans, earth and nature are symbolically expressed within the site. The outdoor spaces of the National Theater of Korea are organically composed of the following low spaces : 1) a field of creation; 2) a field of recreation; 3) a field of meeting; and 4) a field of contemplation. The field of creation consists of a main entrance, spaces for public performance and plays, spaces with symbolic water features, and resting areas. The field of recreation is composed of various exhibition spaces. The field of meeting consists of traditional Korean-style gardens and an outdoor cafeteria. The field of contemplation features lawns, grasses and trees, and provides an area for pedestrian strolling. The outdoor spaces of the National Theater of Korea would produce an atmosphere suited to a cultural and artistic place. In the spaces, people would perceive a unique sense of place through various types of fountains, pergolas, columns, walls, light poles and bollards. An example of the true meaning of a cultural space and a resting place is provided in these spaces. The renovated National Theater of Korea would be a new type of theater with regional context, cultural meaning, spatial identity, various amenities with symbolic images, function and beauty.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.167-177
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• 2011

As today the world has been globalized, each country and race has been trying its best to preserve and develop its own unique culture to have its identity. Same exertion has been added in the areas of fashion and textile such as developing traditional textile or fabrics and applying them to the materials of modem fashion. The Korean traditional gold foil is one of invaluable cultural heritages, and another means to elevate the wearer's social status, and its beauty and artistic quality is very excellent. So, in order to preserve and develop of the Korean traditional gold foil, the exertion of developing the gold foil into multi-purpose modem fashion material which is endurable and practical by using the image of Korean traditional gold foil should be done. The purposes of this study are to preserve Korean traditional gold foil, to develop Korean textile and fashion industry by utilizing Korean traditional gold foil images in modem fashion. The results are as follows: textile designs applied plant motives of Korean traditional gold foil were carried out, modem fashion materials of Korean traditional gold foil image were developed by Jacquard weave. They were to certify that those were registered on the register of the Korean of design registrations from commissioner the Korean Intellectual Property Office, and developed fabrics of Korean gold foil image were examined the utility for modern fashion materials through using them in the modem wearing, interior goods and fashion items.