• 미술이론과 현장
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• 제1호
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• pp.71-92
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• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• 복식
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• 제59권7호
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• pp.140-153
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• 2009

In the 21st century called an age of culture and art beyond the information and technology, many companies are developing various art marketings. Cases of the art marketing especially utilizing Korean features among art marketings are being increased recently. It is creating new values as a characteristic based on the cultures value of Korea. This thesis examined cooperative product development focusing on collaborative trends between designers, artists and companies through research on product and art marketing using Korean features. Additionally, by studying features of culture promotional event including exhibition and contest sponsorship, advertisement and packaging and the meaning of futures art marketing were discussed. Though, to date, academic researches have not been thoroughgoing enough in this field, it is considered that cultural product commercializing cultural particularity can strengthen the national image with acknowledgement of the global value as the art marketing using Korean features can contribute to improve recognition and the national image. Based upon this study, the value of Korean features on which custom culture of Korea dwells will be able to give a help to the designer and artist for progressing collaboration with companies as well as the companies for introducing new cultural characteristic to marketing, in the future-proof point of view. Additionally, it will be able to help the government planning the policy for intensifying the national image as a reference.

• 만화애니메이션 연구
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• 통권17호
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• pp.163-173
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• 2009

강원도 지역의 문화예술 콘텐츠 공간의 활성화는 새로운 전기를 맞이하여야 하며 이는 대내외적 변화에 상응하는 새로운 전략적 접근을 필요로 하고 있음을 말한다. 기존의 천혜의 환경적 속성을 바탕으로 하여 전략과 더불어 지속 가능 모델로 자리매김을 하여야만 한다. 그러나 작금의 경제적 불황과 기후 변화의 영향은 성공적인 문화예술 콘텐츠 공간을 구축함에 있어서 더 이상의 선택적 요소가 아니다. 또한 문화예술 콘텐츠 공간의 활성화를 통하여 지역 경제와 사회문화적 파급력을 집성하려면 공간의 다양성과 구체적인 교육 프로그램도 절대적으로 병행하여야만 한다. 지리적 불리함에도 불구하고 영월은 많은 문화예술콘텐츠 공간들을 이미 갖추었고 다른 지역과 다르게 발전적 전략구성을 집행하고 있다. 문화예술 콘텐츠 공간의 중요성을 산업적으로 활용하는 점에서 고무적으로 판단되어지며 본인은 연구의 범위를 영월로 한정하였다. 따라서 영월 지역의 문화예술 콘텐츠 공간을 진단하고 발전을 위한 모델을 연구하고자 한다. 이는 구체적으로 영월지역 뿐만 아니라 기타 지역의 경제적 고용창출과 소득증대, 사회 문화적 영향력을 창출할 것이며 나아가 지역 문화의 현대화와 이미지 개선, 전반적인 삶의 질 향상 등을 형성할 수 있다고 판단되어진다. 방법적으로 세계화를 지향함과 동시에 지역의 문화 예술적 토대를 근거로 하여 영월의 '지붕없는 박물관도시, 영월' 프로젝트 방향을 세방화 패러다임으로 전환해야 한다. 즉 거시적인 세계화 지향의 발전 모델을 수립하기 이전에 지역의 문화예술 콘텐츠 수요를 파악하고 이를 특화한 시스템과 프로그램을 구축하여야 한다. 왜냐하면 영월지역의 문화예술 콘텐츠 공간은 도 시민에게 삶의 장소로서 직결되기 때문이다.

• 한국정보통신학회:학술대회논문집
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• 한국정보통신학회 2013년도 춘계학술대회
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• pp.179-180
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• 2013

본 연구는 미술관의 미술프로그램을 통하여 문화시설 이용도를 활성화함으로서 지역사회 문화예술의 전반적이고 지속발전을 도모하기 위한 것이다. 이것은 문화예술을 통한 시민들의 삶의 만족도를 제고함과 동시에 이 사회에 잠재되어 있는 문화예술의 적극적 향유계층을 발굴하고 장래 부산의 문화예술 발전에 기여하는 것을 목적으로 한다. 본 연구는 문헌자료 분석과 미술관에서 실제 이루어진 미술전시 연계 프로그램에 대한 분석으로 이루어진다. 이를 위해 일차로 선행연구를 토대로 문화예술 및 미술관 교육의 기본적인 개념을 조사하였고, 부산의 문화, 여가에 대한 사회지표 조사 자료를 분석하였다. 이를 기초로 현재 문화예술 시설의 활용도를 분석하고 미술관 전시 연계 프로그램을 통해 지역사회 문화예술 발전 방안을 제시 하였다. 과거의 미술관이 예술품을 수집, 보존, 전시하는 역할에 머물러 있었음에 반해 현대의 미술관은 기존의 기능에 더해 교육적 역할이 강조되고 있다. 또한 오늘날 미술관은 문화소외계층들에게 다양한 문화프로그램을 통해 부담없이 문화생활을 향유하도록 하는 공간으로서 그 사회의 특정 전시물이 아닌, 그것이 위치한 지역사회의 전반적인 문화 수준을 향상시킬 수 있는 거점으로서의 역할이 기대되고 있다.

• 복식문화연구
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• 제22권2호
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• pp.258-272
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• 2014

This study aims at comprehending the characteristics of fashion communications through case study about an art marketing that Prada develops in the field of modern fashion and providing theoretical materials on creativity-based art marketing and communication spread as expression strategy for brand philosophy and personality. For its research method, theoretical study was reviewed about art marketing and Prada's fashion philosophy and then cases on Prada's art marketing were analyzed according to their types. Prada's types in their art marketing are classified into several groups: support of art foundation and artists, differentiation via flagship store, application of image fashion, exhibition project, and cooperative work with different realms. From the above marketing strategies, we can find the values in that the brand image imbedded in enterprises with culture and art was contributable to set up the brand identity, that they were much beneficial to continuous activation for fashion culture and art fields, and that fashion communications of artistic emotion based on challenge and innovation were proposed. This fashion communication in Prada via way of art marketing is not just expression of Prada's luxury fashion brand but willingness to make their unique style from different facades. This also suggests the orientation that modern fashion should look forward to in finding a new way through cooperative relationship with other fields.

• 미술이론과 현장
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• 제5호
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• pp.25-41
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• 2007

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."

• 조형예술학연구
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• 제7권
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• pp.105-127
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• 2005

This research is on the characteristics and roles of important cities of Germany based on the history of the modern art museum and its possessions. Especially, it is focusing on the modern art museums in the western Germany including Dusseldorf, Koln, and Frankfrut that have shown economic recovery from the Miracle of Rhine; the capital city of Germany, Berlin, as well as Munich, the second capital city of Germany. Here, it harmonizes with the tradition of the past and simultaneously, it spreads the concept and role of the new museum as a forerunner. After the WWII, this is the most active of supporting investment for art museums and authors from the economic development. Also, it represents Germany with its national promotion of culture and arts. The modern art museums of Germany emphasize the mission that they exist for the people and the nation as well as creation of new art culture. These art museums working for national culture and art development do not simply collect and preserve arts. They induce active involvement from the public and keep in mind of national objectives. Here, art museums become and educational setting for the people and a room for new art culture. This research is on Germany modern art museum and it is composed of important 'public institutions' of Germany that critically influence the growth of world-renown authors. After the unification of Germany, Munchen and the western region became an important places centering around new Berlin modern art museum. They are the best places that show the national objectives and regional characteristics. Also, there are art museum educational curriculum and open space for the people by explaining exhibition plans and contents. Furthermore, there are two characteristics of German modern art museums that are noteworthy. Firstly, there are Berlin's Neue Nationalgalerie, Munchen's Pinakothek de Moderne, and Dusseldorf's 'K20' (Kunstsammlung N-Westfalen K20) that are the roots of modern art. These modern art museums exhibit popular author's collection repeatedly. This has a tendency to standardize audiences' view or to make audiences bored. It is becoming more like a trend for art work to appear and disappear. Despite these problems, German modern art museums play a critical role for a new cultural art creation and for the national identity by attempting to show the works of domestic authors as well as an intensive collection of world-renown authors' works. Secondly, there is a role as a new art museum to work together with people. It strives to continuously educate difficult modem arts, exhibits in an open space stimulating interest, participation, and conversations. From these roles, Hamburger Bahnhof Museum fur Gegenwart or Dusseldorf's 'K21, Frankfurt Museum $f\"{u}r$ Moderne Kunst, $Kf\"{o}ln$ Museum Ludwig are given new attention. Here, they emphasize the importance of communicating with the audiences and provides experiences that are different from the original spaces by showing the architecture tecture style of the art museum. In conclusion, German modern art museums attempt various changes by connecting to art education. With art museum activities, there forms a connection between arts and the lives of people, and from this, creative cultural art focused on the art museum borns. This is not only limited to Germany, the U.S., etc. We, too, should pay attention to new art culture creation from changes of role and function of modern art museums.

• 패션비즈니스
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• 제16권5호
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• pp.146-163
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• 2012

This thesis aims to present how to make secure the identity of the brand with enhancing the esthetic expression of the brand and making the ways of emotional communication in variety, through investigating closely the case of Prada representative of the typical brands that have established the unique identity by cooperating the fashion with culture and art through their ingenious and consistent efforts. In the conclusion, the culture and art was found to be applied in two fields i.e. one of design and the other of marketing. In terms of the design, the method of inserting the image into the surface of the clothing and accessories was used. In the context, the illustration techniques, photographic patterns and applying the image of the art piece could be summarized to be used. In terms of marketing, the sponsorship of the art and exhibitions, look books, animations and fashion films, epicenter, the collaboration with the other kinds of enterprise, could be regarded as four ways of the approaches. The innovation and creativity, futuristic hybrid, nonprofit support of the art, the integration and consistency of the image of the arts could be concluded to be four major points defining the characteristics of the Prada renowned for the use of the culture and arts to its property.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2001년도 International Costume Culture Conference
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• pp.48-48
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• 2001

• 한국실내디자인학회논문집
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• 제20권1호
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• pp.109-116
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• 2011

As urbanization has evolved, a number of cities have been engaged in building creative power through branding. Cities contain much creative space and creative space within cities develops them. Cities are connected with space, which have a great influence each other, in particular, in cities of culture and art. Space contents in cities have various forms and types and work as important factors for branding of cities. In this high-touch generation, cities of culture and art have special meaning in that design of emotional generation, and cultural meaning of tangible and intangible assets in cities are their competitive power and sources of high added value. The cities of culture and art are oriented toward creative future globally and nationally. In cities of culture which seek for urban development by excavating artistic meaning and value through artistic and cultural development, their cultural meaning itself can become a brand, which effectively leads to building creative cities and marketing of urban brands. This study aims to analyse cases of cities developed through discovering or reactivating art and cultural meaning and value of urban space based on urban space contents. Then it analyses through what urban image, brands and marketing space contents were developed and suggests necessity of space contents development in small and middle sized cities. Therefore, based on the cases of art and cultural cities developed depending on space contents, it analyses and differentiate their various types and contents, aiming to show that any cities can be based on art and culture and creativity depending on creation, regeneration and development of space contents.