• The Journal of Art Theory & Practice
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• no.4
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• pp.105-121
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• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• The Research Journal of the Costume Culture
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• v.6 no.3
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• pp.88-99
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• 1998

Image of Modern Art & Fashion are created on the whole in daily life. Image itself is not simple. There is no more distinction between content & form through mutual crossing for intellectual thinking. Specially, image of reproduction circumstance too many mixtual and compromise (collage) are continued to occur. They could pursuit to change their image through the more increase of impulse, exception and popular experience. In this thesis, I studied about image of Modern fashion & Art. In the modern art, visual image showed as anti-beauty and combination of cultural system. It has shown in the theory of Fred Davis and through fashion brand advertising image as follows; Youth vs maturity (ageless image), male s female and androgynous vs unisexuality (genderless image), colligation vs monopoly (street mode image). As a results, the modern trend image are showing the value of the ambivalence. It can be said that he anti-beauty which are occasionally showed in ambivalence has shown a tendency toward another tradition (feminity) through giving an impulse and paradox.

• Journal of Korea Multimedia Society
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• v.23 no.5
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• pp.721-727
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• 2020

The change in 21st century imaging media technology is changing our modern visual system. Virtual reality HMD devices, one of the core technologies of 5G, reproduce the new visual system. However, there is a lack of analysis and understanding of the visual operating system to understand the visual system of the fast-changing variety of imaging media. This study analyzed the three visual systems appearing in the recent imaging media art area and presented an engineering perspective algorithm for its procedures and methods. Through these results, we want to build algorithms that understand the visual system of virtual reality HMD devices.

• Journal of Science of Art and Design
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• v.7
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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.

• International Journal of Costume and Fashion
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• v.12 no.2
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• pp.15-32
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• 2012

From the beginning of the twentieth century, 'Modernism' impacted and transformed art and clothing. Pablo Picasso and Gabrielle 'Coco' Chanel were two of the most central characters in Modernism working simultaneously in their disciplines. Picasso's innovations, particularly in abstract art and Chanel's fashion designs, that dramatically departed from the previous corseted and highly decorative styles, were so significant that they have left an influence on contemporary art and fashion. This study will compare their visual works and documented evidence of their motivations, within the context of their cultural backgrounds, to reveal meaning in the occurrences of overlaps. This approach has examined the historical, cultural background of the artist and designer's environment from different perspectives, adding to previous research in this area. Through this research, outcomes of the analysis have shown similarities and divergences in the wider genres of art and fashion and the practice of the artist and fashion designer. The reference list to this text, used in the survey, gives a comprehensive overview of pertinent publications disseminating Picasso and Chanel's visual works, oral perspectives and cultural impact.

• Journal of Korea Multimedia Society
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• v.21 no.5
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• pp.638-647
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• 2018

This study aimed to identify visuality changes in the $21^{st}century$ digital visual media art through the expension of digital frames based on visuality represented by Cartesian perspectivalism in the modern age. The visuality of perspective, camera obscura and panorama, which are called modern visual systems, was analyzed to illustrate each characteristic from a viewpoint of a seeing subject. These characteristics of the visual systems were restructured to meet the visuality of the digital era through the illustrations of Lacan's gaze. In addition, the characteristics of frames found in the $21^{st}century$ digital visual media art were identified, and they were categorized into and illustrated from physical, convergent and interactional viewpoints. The outcomes were classified into the $21^{st}century$ digital frame types, and new $21^{st}$century digital visual illustrations were suggested based on the results.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.57-68
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• 2003

The purpose of this study is to develop a creative perspective technique in fashion illustration through analyzing perspective in visual art experienced a great variety. This study was analyzed by examining the general theories based on the discovery of perspective and investigating the modern perspective in fashion illustration related to the method of spatial expression in visual art. A complex perspective of existing perspective gives the effect of reapperance of actual space and three-dimentional form in a plane. Because of being used as not only one perspective technique but also some perspectives technique, its expression can be more realistic. An amplified perspective gives the effect of visual illusion just like being suck in space inside and come out from screen outside by distorting the human body. A confused perspective of space gives the visual illusional effect of collapsing actual space and misunderstanding three-dimensional form by distorting the form of the space and changing the nature as an object of fashion. A reiterated or duplicated perspective gives effect of interpreting invisible space as imaginary space by overlapping and eliminating the object of fashion. An irrational perspective of spatial illusion gives the effect of disorganization experienced thinking by strange shapes and new recognition of irrational space by extraordinary visual connection. It has a tendency to surrealism. In conclusion, the modern perspective in fashion illustration has made the best use of not only new perspective since 1980, but general perspective before 1980. By the modern perspective expression. the viewer has made a chance to experience imaginary spaces indirectly, and the author has been able to express emotions by his or her new attempt in the screen.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.38-50
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• 2005

The purpose of this study is first, to see through the aesthetic essence of the clothing as art, through theoretical consideration of cultural feature and body style in Postmodern Feminism. Also, this study will examine the aesthetic value in artistic meaning regarding a Deformational body image in visual an. Second, this study will analysis the formative character of Modern Art to wear which expressed unfixed body style, followed by the change of Postmodern Feminity, as a Deformation image. This character will be categorized by Expansion, Grotesque, Pleasure, and Virtuality. The following is the result of this study. Expansion expressed in modern Art to wear created intentional structure of the form, and intentionally presented refusal of body existence through disembodied. Grotesque expressed refusal and deviation of women's ideal body style, which is defined by mannish discourse, very grotesquely. Pleasure pleasantly presented free emotion through an intentional transformation like distortion or imbalance of the body By paradoxically reproducing women's virtual body as other unfixed female identity was expressed visually through virtuality to embody post-gender.

• Journal of the Korea Furniture Society
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• v.22 no.1
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• pp.34-41
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• 2011

Surrealism is 20th century avant-garde art movement that gave the greatest impact. Surrealism art as Visual us consciousness that exists or is worth checking out. 1920 around the concept of the surreal appears on the Visual language is fine art molding, including design, fashion, advertising, etc, all of the art field. In addition, their artistic concept is limited to pure art without the commercialization and product as the transition you want to find a way to be. As a result, the concept of the surreal fine art as well as the design sector in particular, furniture design, but many more impact art trends. Therefore, this study examines the concept of the surrealism, appeared in the furniture design based on surrealism representation of research aims. And how these representations are modern furniture design in any affected for research. Representation and features about the analysis is largely four separated by the survey, and classified representation of research and analysis features.

• Journal of architectural history
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• v.3 no.2 s.6
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• pp.125-141
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• 1994

Alois Riegl's aesthetic theory of visual perception provided one of important conceptual backgrounds for Vienna Art Nouveau architecture. Riegls theory of visual perception consists of geometric style and two-dimensional transformation. Riegl's theory of geometric style is based on the modern aesthetic theory of abstraction, which says that the artistic perfection can be obtained not from a direct imitation of natural objects, but from an abstract transformation of them. Riegl's theory of two-dimensional transformation, on the other hand, aims at obtaining artistic perfection by disintegrating volumetric conditions of natural things into planes and combining the planes thus obtained into another new world of art. These two theories of Alois Rigl's provided an important aesthetical background for the design strategy of 'abstract ornamentaion of two-dimension' in Vienna Art Nouveau architecture. This paper is to review the basic concept of Alois Rigl's theory of geometric style and two-dimensional transformation.