• 미술이론과 현장
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• 제16호
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• pp.41-69
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• 2013

The inauguration of the collective Reality and Utterance (Hy$\breve{o}$nsil kwa Par$\breve{o}$n) in 1979 and 1980 marked a watershed moment in Korean art. This is not only because the collective gave birth to the politically-engaged art movement that would come to be labeled "Minjung Art" by the middle of the 80s, but also because it enthusiastically embraced a wide range of images from the urban culture. With a special focus on the members' early work, my research explores an issue largely neglected in the dominant narrative of Minjung art as a form of activism against the authoritarian Korean government during the 80s. The issue is what was at stake in Reality and Utterance's exploration of contemporary urban visual culture. The aim of this essay is to recognize the engagement with the urban visual culture as central to the group's early project and to consider it at some distance from the anti-urban and anti-mass culture perspective which was endorsed by the Minjung narrative. Focusing on members' turn to urban visual culture, this essay instead argues that this turn was by no means merely a means to making art as social critique, but more importantly, it was an experiment with the shared image world, as opposed to the rarefied visual vocabularies of abstract modernism. Visual productions such as advertisements, billboards, posters, and kitsch paintings, which come from outside the narrow confines of fine art, were definitely ominous signs of the colonization of everyday life in the capitalist city, but at the same time they were anticipated to be a catalyst for redefining Korean art in a more communicative, accessible, and democratized way. In this regard, in the early 1980s-in particular 1980 and 1982-the members' gesture oscillated between critique and embrace, which allowed the group to occupy a unique domain in the realm of Korean art production.

• 한국의류학회지
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• 제24권4호
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• pp.538-548
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• 2000

A study analyzes the eclectic trend shown in Andy Warhol look to explain the pluralistic aspect which is expressed in the late 20th century's fashion. Eclecticism is a trial to dismantle the barriers between pure art and popular art, high culture and low culture. This pursues harmonious accommodation and coexistence of all areas without being confined in the conventional lofty taste or high art. This thesis studies the characteristic aspects of the eclectic trend by classifying this trend into sell culture, mass media and fashion around the Andy Warhol look. The sexual eclectic trend in Warhol look is bisexual one shown in clubland and the world of modeling and supplies fashion with abundant expression and ambiguity. Warhol established cultural eclecticism by compounding high cultural factors and low cultural factors. broke up the boundary between street fashion and high fashion and escaped from the fixed idea on materials and design. Also he generalized and democratized specialty or nobility conventional paintings had possessed through introducing repetition and mediocrity and fully utilized every kind of mass media, Hollywood movie stars and daily necessaries in producing works. Andy Warhol who asserted‘Business Art’that was the mixed form of artistry and commercialism had creative and futuristic taste and proposed the direction to develop current fashion and art where the concept of economy is importantly brought into relief.

• 정보화정책
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• 제20권1호
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• pp.61-84
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• 2013

이 연구는 중국이 인터넷에서 반체제 정보유입을 어떻게 차단하는지 기술적인 부분에 초점을 두어 인터넷 통제 메커니즘을 규명하였다. 중국은 경제적 이익 때문에 북한이나 쿠바처럼 전면적으로 인터넷 통제를 하기보다는 하드웨어 기반의 기술 통제와 노동 집약적인 물리적 통제를 병행함으로써 당-국가 체제를 위협할 수 있는 행위자 출현에 대비하고 있다. 이에 대한 일환으로 중국 정부는 인터넷을 이용해 시위 확산에서 민주화로의 이행에 연결고리가 될 수 있는 반체제 정보 차단에 심혈을 기울이고 있다. 본 논문은 우선 보편적인 인터넷 통제의 개념과 국가별 유형에 대해 알아보았다. 그런 다음 중국의 인터넷 통제 기술이 어떤 과정을 거쳐 발전되었는지, 90년대부터 현재까지 인터넷 통제 방법을 다각도로 고찰해 보았다. 마지막으로 집단시위 이슈에 따라 인터넷 정보가 어떻게 차단되고 표출되는지 중앙정부와 지방정부 간의 역학 관계로 분석하였다. 이러한 분석을 바탕으로 향후 중국에서 정보화 기기를 이용한 파급적인 인민의 저항이 발생한다 하여도 대규모 물리력과 기술력을 동원한 중국정부의 유연한 통제를 전망할 수 있을 것이다.