• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.24-37
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• 2011

This study aims to figure out any possible expanded expression methods and diverse formative effects in fashion design by recognizing the importance of objects that suggest new paradigms as a means of expressing aesthetic consciousness in contemporary fashion and analogizing the formative characteristics of objects used in fashion and their significance. Accordingly, the study focuses on analyzing and interpreting objects introduced to fashion design with a formative view by substituting the concept of an object that has taken an important position in the contemporary arts for fashion. This study further aims to examine the concept of objects by trend and their characteristics within a syntactical structure and come up with a standard for classification of objects and a framework of analysis from cubism in the early 20th century when the concept of an object began to appear in arts to Dadaism, Surrealism, Pop art, Land art, Environmental art and the present time. Finally, the study aims to examine the status of objects in fashion and the relationships between fashion and objects through analyses on fashion objects and to suggest new perspectives and approaches to interpret the contemporary fashion in the 21st century.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.29-38
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• 2012

The earliest of the Cultural forms have utilized different methods of artistic expression and aesthetic senses such as the Tattoo that symbolized the adornment of the human body. when viewing from the perspective of postmodern art and design, these cultural forms were redefined as a regression and intertextuality, a modern interpretation of Henna that had a subversive significance. Specifically, Henna design quickly emerged as a new style in fashion art which represented a postmodern phenomenon. It was introduced as a fashion style in korea about 10years ago. since then, the henna fashion trends is growing rapidly in the domestic market. However, It is growing without our unique identity due to indiscriminate and excessive industrialization. This study of Henna design, (similar to the art of Tattooing) sees from a cultural and regional perspective of orgin. This study interprets henna as a fashion style and analyzes symbolic meaning and aesthetic senses today with a clear definition of henna Design. from now on It's purpose is to establish the Korean Henna culture and the possibility of it being the fashion style that contains a unique atmosphere.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.585-594
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• 2013

In this study, we studied methods of communication among audiences, artwork and artist and analyzed interactive media art using the nonverbal communication methods. We analyzed the 4 types of nonverbal communication based on sign and meaning[1] and reclassified suitably for analysis of interactive media art. According to the analysis result, we draw typical characters by analyzing interactive media artwork which were corresponding to the each types. Also we analyzed overlap area and classify. Through these processes, we found communication methods in interactive media artwork connect audiences and artwork by organic combination of several nonverbal communication. In this paper, we suggest a new approach about the communication among audiences, artwork and artist through analyzing interactive media art using nonverbal communication.

• 한국문화재보존과학회:학술대회논문집
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• 2003.09a
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• pp.13-14
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• 2003

• Journal of Science of Art and Design
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• v.1
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• pp.125-164
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• 1999

The Grid, a lattice structure adapted in paintings, is one of thesimplest plastic structures based on the intersection of horizontal and perpendicular lines. Though mankind has, from the pre-history to the present day, put it to good use in everyday life as a traditional practice or a magical, esoteric, religious emblem in the case of the teciform of primitve art, it was in the paintings of Piet Mondrian that the Grid showed its modern, artistic transformation. As we suggest in the title, before I state the Grid as a plastic construction of modern painting, this dissertation inquires the Grid structure that extends over paintings through the ages as a painterly conept, especially focused on their formation and deconstruction. To begin with, my dissertation investigates, as a historical background, a general idea of the geometrical structure and phases of its transition in art, prior to dealing with the Grids as plastic strures in modern painting. the core of my study on formal Grids is permeated through the third chapter. The first chapter concentrates on, firstly, difining the notion of the Grid and geometrical structure, secondly, searching for a historical backgrounb with whict the so- called modern Grid-paintings come in, inquiring into the formation of the illusion-Grid as aresult of discovering the linear perpective and the situation of the conflict and reconciliaton between reality and illusion. Based on these considerations, the second cecond chapter will examine the various sitations of formation and adaptation of the paintery Grids in the Literalism-Grid, as we have already seen in the chapter one. And the cardinal third chapter devotes itself to the process of the formation of the so-called Object-Grid and Literal-Grid in the Literalism or Minimalism as its logical extension of the Painterly Grid. With it we can get to an interpretation and understanding of the meaning and qualites of Grid dwelt in Modernism thst transformed the structure of Painterly Grid originally as a plane concept to the third dimentionl structure. And then, the fourth chapter, we try to draw a new meaning andre-interpretation of the Formal-Grid as a representatuinnal structure appeared in the post-modernist paintings, going with its deconstructional situation. Therefore, we can, in our study on Grids, see the various points of view in the interpretation of them as illusion-structure, as plane-structure, and as cubic-structure; its concept differs form times, oscillating between its formation and deconstruction. The Grid, as we have seen in my dissertation, contains various problems and significations in art that deserve to investigate throughly, including some important plastic problem such as space and plane, and, in the case of do-grid, time. We may expect new concepts of it that will have difference meanings. 1 hope my study makes some contributions to understanding the coordination of the abstruse modern and contemporary art.

• The Research Journal of the Costume Culture
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• v.18 no.4
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• pp.687-702
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• 2010

The purpose of this study is to study the inner meaning and formative with distorted and atypical Informel image, body image expressed in modern fashion. Method of the study is as follow. The study method examined philosophy of art 19th century?in order to consider interconnections between social and cultural characteristics of expressionistic abstract art, a form of Informel and changed physical style. Based on this method, the Informel image that appeared in the plastic arts in terms of artistic significance and aesthetic value was examined. Based on the above discussion on modern fashion Informel images were expressed in any formative characteristics were considered. The results of this study are as follows. Contingencies through the spontaneous act of art to transcend the image of atypical lines formed elements of coincidence, was developed. Liberation was expressed from liberation of physical boundaries and created outward expansion of the free formative. Atypical was organic forms pursuing spontaneous plasticity and diversity, and appeared in the form of distortion and deformation.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.162-169
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• 2023

With the diversified development of modern art, the application of mixed media in painting has become increasingly prominent, which not only provides artistic creators with new creative ideas, but also magnifies the creators' emotions and re endows the media with meaning and value. This paper systematically introduces the definition, features and connotation of mixed media painting, and expounds three aspects of the aesthetic function of multimedia in oil painting creation, the embodiment of painting individuality, and the combination and application of materials and technique to demonstrate that mixed media presents different understanding and expression in Chinese oil painting, no longer constrained by traditional oil painting materials, which promotes more development possibilities of the art expression form of Chinese oil painting, enhances its international influence, and bring new vitality to the creation and development of Chinese oil painting.

• Journal of the Korea Fashion and Costume Design Association
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• v.3 no.1
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• pp.77-91
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• 2001

Remembering a meaning of fashion started in the early 20C, Paul Poiret is one of the most important designer. If so, what does his achievements and assessment his costume design have to be？ That is the spirit of his design. Through the creation of the new style which is totally different from a period before, introduction of the vivid color, the new line and the enthusiasm of the fashion business, he showed the roll and the possibility of the modern designer. In Poiret's women's costume, harmonious beauty of women could be discovered in beautiful color which was not used in the 19th and elegance line. Furthermore, in the creation of the color and style, he got a strong influence by the art of early 20C's Europe. This was an opportunity that todays fashion has treated as a part of the or her art, and many modern designers are contacting with the art. The excellent ability in the fashion business has the composite as total fashion. Fashion business including perfumes, cosmetics furnitures, accessories is a model for most designers who follows him.

• Korean Institute of Interior Design Journal
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• no.8
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• pp.16-22
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• 1996

In terms of modern design history, De Stijl movement had continued as one of influential groups by 1931, and it attempted to pursue universial reality that combined painting and architecture, seeking a new style based on Neo-Plasticism and succeeded the nineteen century's Art and Craft movement and Art Nouveau. Especially, the De Stijl movement provided 1920's rationalism with new space pattern and its ideas greatly affected the Bauhaus movement such as Walter Gropius or Mies van der Rohe. De Stijl's utopian idea that claimed on the conformity of art and life contributed modernism movement combined with scientific and rational view, and even now experts its lasting power with the concept of time and space free from simple cube in modern architecture and interior design. The tue meaning of the De Stijl movements is that is sis the basis of general ideas, and the change of modern architecture is based on this modern styled foundation. It may be the unchangeable fact like Russell Hitchocok says, "The architectural style and pattern which everyone admitts its importance has the value of living."

• Journal of the Korean Society of Costume
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• v.51 no.3
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• pp.59-73
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• 2001

This paper is to examine the meaning of activities of a number of artists who belong to Constructivism in the fashion design area during early twentieth century. After Russian Revolution, the artists like Nadeshda Lamanowa, Ljubow Popowa and Warwara Stepanova decided to devote to practical art area for many People. It's very meaningful for them to jump into real work places like a textile mill and a clothing workshop instead of staying in fine art area. Constructivism is more related to social interest rather than individual thing. The artists tried to apply their modeling principles in fine art to dress making. We can see the geometrical lines and shapes and big differences In colors and material in their dress. The artists had also shown personal tastes to dress works. This idea of togetherness with their time and even to create the style of it. was very renovative at that time and gave an influence on the later styles.