• Archives of design research
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• v.5 no.1
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• pp.45-56
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• 1992

In the 1970s, the term Post - Modernism came into use to lable work of graphic design who broke up the Swiss style that had defined clarity and order. The characteristics of Post - Modernism graphic design include pluralistic and eclectic style. Those innovation of graphic design concerned with our social, political. cultural, and econonic changes. Deconstruction is one of the theory of Post-structualism. Deconstruction refers to the breaking down of metaphysics, rationalism, totality and so on. Deconstructive graphic design destroys traditional harmony even more than Marinetti's claim. Totality in graphic design seems to be ignored. Post - Modernism in architecture appears as historical revivalism and pluralism. The eclectic revivals and eccentric reinventions in graphic design are far too pluralistic and diverse to fit such as a simplistic system of style. Another innovation in graphic design occurs by electronic revolution. The impact of computer upon graphic design is becoming even more pronounced. Most importantly, Post-Modernism can consider the rediscovered freedom in graphic design. Graphic design is undergoing profound changes. But the essence of graphic design as com$$\mu$ication tools will remain unchanged.

• Archives of design research
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• v.15 no.1
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• pp.15-26
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• 2002

Contemporary visual art is characterized by a systematic study of the irrational. This trend was largely a reaction to the rationality of Modernism, which felt out of fair in the post-industrial society. This new trend against Modernism is represented by Deconstructivism. However, the appeal of irrationality has a deeper root. In this article, we examine the historical roots0 of this interest in the irrational. In doing so, we focus tour attention on the effect of Freud's theory of the subconscious on the growth of Surrealism in modern art. In particular, we explore how this same tendency is reflected in modern. floral art & design. By doing so, we are able to relate the developments in floral art & design with the developments in other areas of modern art. Finally, we show that it is possible for floral art & design to be in the vanguard of contemporary art because of its unique characteristics.

• 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 Korean Journal of Archival Studies
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• no.25
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• pp.233-278
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• 2010

An interest in various description of history was increased, resolutely breaking away from the existing frame also in a historical science world, under the influence of post-modernism arisen from the mid 20th century, and for this, oral history archives and oral history methodology began to attract the attention in various academia including archival science as a method for a new writing of history. Also, under the circumstance of korea having a difficulty in performing a whole reconstruction of modern age history and a liquidation of past affairs due to an absolute lack of archives, the tendency is toward more active management of oral history archives and establishing oral history archives in the context of an excavation of new archives and a reinterpretation of history, owing to the necessity in a particular situation. This article started with a critical mind regarding an absence of a collecting policy which can help an effective development of collection from a point of view of archival science, with regard to oral history archives that recently shows a rapid increase of an interest. For this, this article intended to present an new element of a collecting policy besides the study on a collecting policy performed meanwhile by an archival science world by noticing a characteristic and a collecting method of oral history archives, this can be examined largely through 'a statement of mission and collection purpose', 'a policy of collection at large', 'a definition of maintenance and use of the holdings', and 'a guide for a development of collection', and add a proposal regarding a plan to embody the parr which should be actually applied to collection of oral history archives among the existing constituents.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.