• 복식
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• 제58권8호
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• pp.137-157
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• 2008

The purpose of this study is to acquire clear understanding of classic Pop art, and furthermore, how it evolved within the art and fashion industries in relations until present days. Throughout the studies, it was inevitable to find that there needs to be additional traits to Richard Hamilton's famous quote regarding the definition; "Pop Art is: Popular, transient, expendable, low cost, mass produced, young, witty, sexy, gimmicky, glamorous, big business." Distinctively, though Pop art is continually evolving, sustaining, costly, authentic, and, adaptable for all ages. Pop art's varying influence continued, and Neo-pop, Japanese Neo-pop, les Nouveaux pop, Post-pop art appeared with progression. These transformed Pop arts share similar contexts with the Classic Pop art; and yet, it is inevitably more narrative, and has diversity in sources and expressions. If the Classic Pop art's been mostly flourished in the United States, new Pop arts are well established in various countries with individualities. Indeed, Pop art influenced the fashion world with attempted young and sexy looks with pastiche characters. In the 1960's, "Mods", "Teddy Boys", and "Hippie" styles became popular, and fashion trend started trickling up. Various usages of fabrics and uncommon materials were popularized due to the advanced technology and Pop art. Recently: 1) classic Pop art's been directly applied to fashion, 2) it's been reflected in more various motives and techniques 3) Neo-pop artists and designers wire involved with collaborative efforts. Undoubtedly, Pop art still remains popular for those who seek for fun; and so-called "Kidult" and "Peter-Pan syndrome" are closely correlated to the fundamentals of Pop art.

• 융합정보논문지
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• 제9권6호
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• pp.227-232
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• 2019

본 연구는 메이크업의 창의적 표현 영역으로서 주목받고 있는 아트 마스크에 네오 팝 아트를 접목하여 새로운 디자인 방향을 제안하는데 있다. 이론적 고찰을 통해 네오 팝의 특성을 분석한 후, 일본의 팝 아티스트인 무라카미 다카시의 작품을 모티브로 각 특성에 따라 총 4작품의 아트 마스크를 제작하였다. 연구 결과로는 첫째, 네오팝은 아트 마스크의 소재로 활용하기에 충분했다. 둘째, 네오 팝의 특성을 적용한 아트 마스크의 새로운 디자인을 제안할 수 있었다. 셋째, 미술과 메이크업의 융합을 통해 다양한 분야 간의 융합 가능성을 알 수 있었다. 향후 다양한 분야와의 융합을 통한 아트 마스크의 연구가 활발히 이루어지기를 바라며 본 연구가 아트 마스크 디자인 개발의 기초자료로 활용되기를 바란다.

• 복식문화연구
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• 제23권4호
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• pp.581-594
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• 2015

The emergence of pop art in the 1960s exerted a profound impact on integrating art into the real lives of the general public, which continues in the current area of culture of post-industrial society. Thus, this study aims to attempt the popularization and modernization of Korean images by applying the concept of pop art to the development of a national symbolic image. This study utilized Mugunghwa, Taegeukgi, and the Great Seal, which are national symbolic images that establish the identity of Korea through differentiation, universality, and visual formativeness. It then proceeded with the development of neo-pop art motives and patterns using national symbolic images from the standpoint of symbolism, mix-match, and repetitiveness from among the characteristics of neo-pop art. This study carried out pattern design by departmentalizing each characteristic according to the standpoint of neo-pop art through scribbles composed of the following: Signs, pictograms, and childlike characters; drawing simplification for symbolism; a mix of the East and the West; a mix of subfashion and subculture for mix-match; the repetition of lines, characters, and icons; and the exaggeration and grotesqueness of characters and icons for repetitiveness. This study is expected to serve as momentum for raising the cultural value of Korea and for the development of a pattern design capable of achieving worldwide competitiveness through the combination of the permanence and continuity of national symbols with the popular universality of pop art.

• 한국융합학회논문지
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• 제7권2호
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• pp.119-127
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• 2016

본 연구의 목적은 대중적이며 산업화 되어있는 네오 팝 작품을 네일아트 기법에 융합한 디자인을 제시하여 창의적 디자인 발상에 기여하는데 있다. 연구방법은 네오 팝의 대표작가인 장 미쉘 바스키아, 무라카미 다카시를 선정하여 대표작가의 작품세계와 그들의 작품을 모티브로 한 사례를 전문서적과 인터넷 자료를 활용하여 분석하였다. 또한 네일아트의 개념과 표현기법들을 분석하였고 세 작가의 작품을 모티브로 네일아트 기법 중 핸드페인팅, 시스루, 엣칭, 네일 패치, 3D, 에어브러시 기법을 융합시킨 디자인으로 총 6작품을 제작하였다. 위와 같은 연구를 통해 네오 팝 작가들의 작품을 모티브로 한 창의적이고 독창적인 네일 디자인을 제시할 수 있었다. 이번 연구로 보다 개성 있고 다양한 네일 디자인의 활용이 전개되길 바라며 네일 아티스트들의 역량을 높이고 네일아트가 활성화 되는데 도움이 되길 바란다. 또한 향후 다양한 영역과의 융합으로 네일 아트 디자인 연구가 확대 발전되기를 기대한다.

• 복식
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• 제65권7호
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• pp.75-85
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• 2015

The purpose of this study is to examine ways to vitalize cause related marketing (CRM) by proposing character T-shirts The campaign will employ Neo-Pop art, a genre popular with both companies and consumers. Study results are as follows: First, campaign T-shirts on the issue of human alienation resulting from digitalization can be utilized to generate financial profit that can be returned to society. This can lead to the acts of exchange for profit generation, public image improvemen of companies, and enhancement of their external status. As for the non-financial aspect, the campaign could lead to increased awareness of social issues and present opportunities to take actions of improvement. Second, the financial objective of character T-shirts dealing with environmental issue of sustainability involves brand distribution network support and revitalization of promotion such as shopping basket of love and eco-friendly store matching program for eco-friendly campaign. As for the non-financial aspect, it can help raise consumers' awareness of cause related activities such as crowd funding and fundraising and prepare opportunities of direct participation. Third, the financial objective of character T-shirts dealing with natural disaster relief activities on the global level involves brand recognition level increase and enhancement of positive association of companies through emergency relief and articles support as a result of drastic increases in casualties from nature disasters. As for the non-financial aspect, it can induce people's participation in relief activities and lead to the establishment of crisis response procedures. The information on the development of pop-art character T-shirts proposed in this study is expected to be used as basic information on cause marketing of fashion companies in the future, while providing inspiration to related fashion design.

• 미술이론과 현장
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• 제13호
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• 한국가구학회지
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• 제19권3호
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• pp.180-192
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• 2008

The historian called Peter Burger divided it into historical avant-garde before and after the first World War (Dadaism, Futurist, Geometric Abstract, etc.) and Neo- avant-garde during the period of forming social foundation that would be ready to accept new forms of art in the USA, the center of capitalism, after the 2nd World War such as pop art and conceptual art including the then emerging avant-garde minimal art. Meanwhile, he interpreted that Neo- avant-garde succeeded the spirit of historical avant-garde. For modem furniture, the avant-garde terminologies are discussed from the aspect of epistemology or symbolism. On the other hand, they would be exclusively used for advertising slogans, however, it is considered as difficult due to vague terms or their characteristics. This study relates the points of historians such as Peter Burger for theoretical proposal and Richard Kostelanetz's point for formal issues, and contracts and arranges the avant-garde terminologies and its characteristics to the meaning of "getting out of the present decadent trend - aiming for future", "transcending the present aesthetic custom - renovation" and "violating the rules already established in the process of entering new areas - freshness of unfairness". The study was meaningful in providing fundamental clues based on the historical discussion and artists for Neo- avant-garde in the 1960s, that is, the mainstream of design at the end of the 20th century in the period when an avant-garde oriented alternative in the 21st century design has been sincerely required overflowed with the fin de siecle phenomenon.

• 복식
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• 제66권6호
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• pp.79-94
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• 2016

The purpose of this study is to explore the process of how modern fashion establishes new consumption cultures by analyzing the different types of fashion toys that have appeared in modern fashion, and identifying inherent meanings of the said toys. The range of this study was limited to four collections (New York, London, Milano, Paris) from 2000 to 2015. In addition to these collections, advertisement campaign and cooperative examples as well as examples of fashion toys that appeared in public interest activities and collections were included. The selected materials were classified into different types of fashion toy usage. From the results of analyzing fashion toys appearing in modern fashion, the four following characteristics. After analyzing the use of fashion toys in modern fashion, four characteristics were found. First, fashion toys were found to be a means to maximize the visual effects of the collection stage. Second, fashion toys utilized as a fashion object were key elements in transforming neo-pop into modern fashion, and constructing high fashion. Third, the fact that people's fashion and fashion toys share contemporary fashion means that customers are shared through the integration of diverse media. This leads to creation of new benefits. Fourth, fashion toys are meaningful because the products reflect contemporary culture, and extend the scope of fashion and art, as it can be considered fashion as well as art. In conclusion, fashion toys were meaningful in that high fashion broke from conservative values, and swiftly introduced contemporary culture codes. It derived a point of effective contact to present a new way of consumption and extended the scope of fashion.

• 만화애니메이션 연구
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• 통권36호
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• pp.669-702
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• 2014

오늘날 한국 현대미술에서 '만화이미지'는 작가의 '페르소나'의 역할과 예술적 담론을 위한 '텍스트'로 활용되며, 대중과 예술의 교두보 역할을 하고 있다. 본 연구는 한국 현대미술에서 '만화 이미지'의 차용이 어떻게 이루어졌으며, 그것이 갖고 있는 시대적 맥락은 무엇인지 살펴보기 위해 이동기의 <아토마우스>를 중심으로 고찰하였다. 이동기의 <아토마우스>는 한국 현대미술에서 최초로 등장한 만화 캐릭터이며, 하위문화가 하나의 예술로서 인정받는 상징성을 획득하고 있다. 본 논문은 이동기의 개인전 '<스모킹>展(2006), <버블>展(2008), <더블비전>展(2008), <불확실의 정원>展(2012), <성난 얼굴로 돌아보지마>展(2013),'을 중심으로 <아토마우스>의 변화가 시대적으로 어떤 맥락을 갖고 있는지 읽어내려 하였다. '팝의 결핍'의 시대에 아토마우스가 태어났으며, '팝의 과잉'의 시대에 변화를 시도하였고, '네오팝의 정착'과 함께 아토마우스의 행보가 끝이 났다. 작가의 무의식에서 출발한 아토마우스는 '미국과 일본' 문화에 영향을 받고 있던 대한민국의 '정체성', 하위문화가 하나의 예술로서 인정받는 '상징성'이 읽혀지며 당시 한국 팝아트를 대표하는 아이콘으로 부상하였다. 그 후 작가의 고민과 성찰이 담기면서 '페르소나'의 역할로 용도가 변경되며, 추상과 구상의 세계를 연결하는 도구로 활용된다. 종국에 가서는 자신의 손으로 창조물을 제거하며 페르소나와 얼터에고의 경계에서 <아토마우스>의 행보를 종료시킨다. 이동기가 <아토마우스>를 창조하고 변화시키는 과정은 한 개인의 작가론을 떠나 한국 현대미술사에서 팝아트의 출발과 성장이 담겨있었다. <아토마우스>는 공공미술의 형태로 지하철 벽면에 그려지는가 하면 다양한 매체와의 콜라보레이션을 통해 대중과의 호흡을 시도하였다. '만화 캐릭터'가 원래 가지고 있던 '상품성'을 십분 활용하며 순수 예술을 일반 대중에게 한발 가까이 다가서게 하였다. 이동기의 <아토마우스>는 하위문화를 고급예술의 영역에 올려놓음과 동시에, 고급예술의 문턱을 낮추었다. 이번 연구를 통해 패러디와 오마주 사이에서 어색하게 시작된 이동기의 <아토마우스>가 오늘날 한국 현대미술계에 어떤 위치에 있는지 확인할 수 있었다.

• 복식
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• 제22권
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• pp.313-332
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• 1994

The purpose of this study were as follows : 1) Investigate how to intluence Clothes with time background and trends of art-thought in the twenty century. 2) To understand chronologically how to change hair style Make-up and hair decor-ation. I. 1st and 2nd World War time(1920-1945) The women's social status and their sexual equality was promoted during in this time. 1) African Art Surrealism and Expression art were doninated. 2) The popalar trends were tutular silhoutte (Slim and long) boyish Style and military lookwere popular. 3) The popalar trends of were Eton Crop. short bob gaconne hair style cloche hat. page boy hair style were popular. 4) The trend of make-up which specially. emphasized eye make-up and imitated movie star make-up and make shining redish of lip and nails were popular. II. The stage of modernism(1945-1969) cold war time between communism and capi-talism and promotin of women's human rights were established in this time. 1) Pop art avantgrade art were catched up 2) The popular trends of were new look Kior's line silhoutte mini skirt and young fashion. 3) The popular trend of hair style was french twist. Pill Boxs hat curly bob style were prevalenced and they some what dwarfed hair style. 4) make-up natural make-up was popular. III. The stage of high economic development (1969-1990) Increased population economic development were tend to specialize with anti-social action such as Hippie and Punk groups. 1) Op art Androgynous post-modernism Punk and neo-modernism were catched up. 2) Clothes : classic style of reactionism layered look Punk-fashion avantgrade fashion and pantalon suits were prevalence. 3) Hair Style : Twiggy's short hair style the geometric hair cut natural long hair Spike hair unsex-hair style. 4) Make-up : diversified individuality were prevalence The result of this study indicated that the value's of recognize the importance of total fashion that is the harmonization of clothes hair style and make-up.