• Journal of the Korean Society of Costume
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• v.23
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• pp.111-130
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• 1994

The purpose of this study was to illuminate eroticism represented din modern fashion. Art based on sex is very important like all of the other cultural values. But we feel that erotic art, neglected, suppressed , and persecuted for centuries, has an important contribution to make to the understanding of art, the social history of mankind, and human happiness and progress. It is our deep personal conviction that erotic art serves important social and therapeutic functions. Erotic art expresses the demand for sexual freedom-a freedom vital to individual happiness and mental well-being, And sexual freedom, in turn, cannot exist without a high degree of political and economic freedom as well. In that sense , erotic art came a truly revolutionaly message ; it demands no less than extension of freedom , not only in the sexual are, but in every sphere of social life. What is eroticism \ulcorner Eroticism must be distinguished from a mere animal reproduction . Eroticism is deeply rooted in the cultural tradition of myth, religion , customes and art. It also has a close relationship with psychological activities of our life. Eroticism is a kind of psychological revolution in the development of human civilization. Eroticism is related to different kinds of art, which express internal spirit of human especially Surrealism. Surrealism is above all a movement of the conquest and deepening of the unconscious. The exploitation of Freud's discoveries opended a new, practically unlimited path for artistic studies to Surrealism . Especially all theory of mental psychoanalysis a affected artists greatly in western art, Freud was appraised highly on his achievements by art critics in art history on his achievements by art critics in art history. As far as erotic subject matter was concerned, Surrealism provided a means of presentig it. Pop Art is not actually a movement , born at a specific time and place, nor is it an easy concept to define. The term first appeared in Great Britain during the fifties, when it referred, particularly in the decorative arts, to an inclination to go back and imitate the stereotyped images of the mass media : film, advertising , cartoons, and other popular consumer products. The eroticism expressed in Pop Art calls the modern's attentions to their devastated minds, taking advantage of the commercialized sex. Fashion has developed constantly reflecting the spiritual aspiration and social and cultural phenomona of man , and artistic steam. Eroticism in fashion is the style which expresses the internal meanings of sexuality through the texture, color, pattern , silhouette etc.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• fall
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• pp.132-133
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• 2021

XR(가상 및 확장현실)에서의 리얼타임 그래픽은 조명이 제 역할을 하지 못하면 인물이 공간감이 느껴지지 않거나 스킨톤이 맞지 않아 이질감을 초래한다. 본 논문에서는 Art-Net 시스템을 활용하여 실제 조명과 가상조명에서의 배경 및 인물의 컬러를 동기화하는 방법을 제안하였다. 제안된 Art-Net 시스템을 통해 인물의 공간감을 향상 시킬 수 있을 뿐만 아니라 보는 이의 몰입감을 높였다.

• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.265-266
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• 2004

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.

• The Research Journal of the Costume Culture
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• v.11 no.4
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• pp.578-590
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• 2003

The purpose of this study was to analyze the formative characteristics appeared in modem Kitsch fashion which has been shown through the empirical data photogrphes from the 2000's to 2003 and the formative characteristics of Kitsch were divided into the material, ornament, color, pattern to understand the modem Kitsch fashion. The findings of this study could be summarized as follows: First, the modem Kitsch fashion in the material was used cheap, counterfeit materials like vinyl, artificial leather, immitation fur, beads and non-artistic materials like metal, plastic, paper and voluptuous material like seethrough to express eroticism and superficiality as the characteristic of Kitsch. Second, Kitsch fashion in the ornament was shown over-decoration by using the various accessories like bracelet, metal belt, gloves, etc to express as childish and coarse mixtures as the characteristic of Kitsch. Third, the modem Kitsch fashion was using splendid and bright, primary colors to express the image of complicated accumulation. Fourth, the modern Kitsch fashion mainly in the pattern was using ethnic, folklore and pop art pattern or print used hippies and pop art fashion to express the primitive purity as bounding of civilized society.

• Proceedings of the Korea Society of Costume Conference
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• 2005.10a
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• pp.226-227
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• 2005

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.160-161
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• 2002

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.270-277
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• 2007

Postmodern designers freely used historical motifs as symbolic expressions or ornamentations. Historical references often became a key to express their ideal against modern standardization. Among the historical references, Art Deco style was frequently appreciated by postmodern furniture designers from the 1960s throughout postmodern era. This study is Intended to explore the way of incorporating Art Deco in postmodern furniture design. Rational Italian designers in Anti-design Movement began to adapt historical motifs and Pop, and this spread out throughout to other Postmodern designers. The research explored how Art Deco and postmodern design are related and what the examples of Art Deco revival in the postmodern era we. In this sense the research mainly covered from the exhibition catalogs from the 1960s to 1990s. As a result of stylistic, symbolic, methodological analysis, Art Deco revival in postmodern era was an essential method to express anti-modern characteristics of postmodernism. In postmodern design, Art Deco was one of historical styles that surpass the limitation o( modernism, at the same time decorative style that express the postmodern ideal.

• The Journal of Art Theory & Practice
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• no.13
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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.

• Korea Journal of Hospital Management
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• v.24 no.2
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• pp.84-101
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• 2019

Purposes: Organizational socialization introductory education for new members is a representative organizational socialization program that enables new members to become true members of an organization and grow into the people they expect from the organization. I analyzed the case of Pop Art Cooperative Learning introductory education for the socialization of the entire organization, which was conducted by Eunpyeong St. Mary's Hospital of Catholic University, in 13 steps, one month before its opening on April 1, 2019. Methodology: In order to analyze the case, the case study was analyzed in order from education planning to preparation, implementation and evaluation. The important point in this process is that all the members to be input at the start of the treatment are not included in the position and occupation. In the composition of education contents, the core keywords for achieving the vision are derived through each group activity and strategies for achieving spirituality, vision, and vision of Hospital are made and the ideal image of Eunpyeong St. Mary's Hospital is completed using the pop art technique. All the works produced by each group will be shared by all attendees of the relevant education level and the whole picture of each education order will be completed again with the big picture called - The heart of Jesus Christ the healer♥ - Respectively. Findings: Education Results All the participants showed high satisfaction and they shared the vision and mission of Eunpyeong St. Mary 's Hospital as well as the formation of intimacy and belonging to each other. They recognized the future direction and goal. And contribute to tissue stabilization. Practical Implications: Through this case study, it will be possible to contribute to establishment and implementation of introductory education plan for new members' socialization to new hospitals.