• 미술이론과 현장
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• 제7호
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• 접착 및 계면
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• 제24권4호
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• pp.136-142
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• 2023

본 연구에서는 실리카원으로 Tetraethyl orthosilicate (TEOS)를 사용하고 주형으로 트리블럭 공중합체(P123)를 사용하여 산성 조건에서 자기조립 방법과 수열합성 과정을 거쳐서 잘 배열된 육방체 구조의 메조세공 배열구조를 가지는 다공성 실리카 물질(Surfactant-extracted SBA-15)을 합성하였다. Surfactant-extracted SBA-15는 약 980 nm의 크기를 가지는 짧은 로드의 입자 모양을 보여주었다. 그리고 표면적과 세공 직경은 각각 730 m²g^-1와 70.8 Å이었다. 한편, 포스트-합성방법(post-synthesis method)을 이용하여 메조세공 내에 아미노실란(3-aminopropyltriethoxysilane, APTES)을 그래프팅(grafting) 하였다. 아미노실란으로 개질된 메조다공성 실리카(APTES-SBA-15)는 잘 배열된 세공구조(p6mm)를 가지고 짧은 로드의 입자모양을 잘 유지 하였다. APTES-SBA-15의 표면적과 세공 직경은 각각 350 m²g^-1와 60.7 Å으로 감소하였다. APTES가 개질된 메조 다공성 실리카에 희토류 금속이온(Eu³⁺, Tb³⁺) 용액을 처리하여 메조세공 내에 희토류 금속 착물이 도입된 메조다공성 실리카 물질을 합성하였다. (Eu/APTES-SBA-15, Tb/APTES- SBA-15) 이들 물질은 λ_ex=250 nm 광에 의해 특징적인 광발광 스펙트라를 나타내었다. (Tb/APTES-SBA-15를 위하여 ⁵D₄→⁷F₅ (543.5 nm), ⁵D₄→⁷F₄ (583.5 nm), ⁵D₄→⁷F₃ (620.2 nm) 전이; Eu/APTES-SBA-15를 위하여 ⁵D0→⁷F₀ (577.7 nm), ⁵D0→⁷F₁ (592.0 nm), ⁵D0→⁷F₂ (614.9 nm), ⁵D₀→⁷F₃ (650.3 nm) and ⁵D₀→⁷F₄ (698.5 nm) 전이)