• 한국콘텐츠학회논문지
• /
• 제10권8호
• /
• pp.198-208
• /
• 2010

본 논문에서는 국내에서 행해져 온 공공미술 프로젝트들이 어떤 개념과 형태를 가지고 현재까지 이루어졌는지 그 현황을 알아보고, 2000년 이후 국내 시민단체나 관에서 행해진 공공미술 프로젝트들을 통해 앞으로의 공공미술 프로젝트들이 가야 할 방향을 제시하고자 한다. 이를 위해 공공미술프로젝트에 대한 사회적 인식을 높이고 인간의 삶을 변화시키는 실천적 힘과 사회적, 교육적 효과, 현사회의 원활한 흐름과 소통을 가능하게 하는 공공미술을 새롭게 인식하는데 역점을 두고자 한다. 따라서 본 논문은 국내 공공미술프로젝트들을 진단하고 공공미술은 아트(Art) 자체가 아닌 커뮤니티(Community)가 되어야 한다는 방향을 제언함에 있어 의의를 갖는다.

• 디지털융복합연구
• /
• 제19권12호
• /
• pp.383-388
• /
• 2021

뉴미디어 기술을 활용한 융복합적 형태의 다양한 예술작품이 시도되는 추세를 반영하여, 본 논문에서는 공공미술의 발자취를 알아보고, 공공미술 작품의 표현방식으로 뉴미디어아트를 활용한 작품 사례들을 살펴보며, 퍼블릭 미디어아트의 새로운 도구로서 VR 드로잉을 제안한다. 이미 VR 드로잉 도구를 활용한 드로잉 퍼포먼스와 VR 실감형 공연 '허수아비'의 사례는 VR 드로잉 도구가 공공미술의 새로운 표현방식으로서의 현실 적용 가능성을 유추할 수 있다. 본 연구는 향후 뉴미디어 기술 중 VR 드로잉 도구를 활용한 예비 창작자들에게 도움이 되는 선행연구가 될 것으로 판단된다. 또한 다가오는 4차 산업혁명시대의 미디어 현황과 비교하여 예술과 기술의 미래 가치를 고민하고 분석해 본다면 의미 있는 연구가 될 것이라 생각한다.

• 한국조경학회지
• /
• 제33권3호
• /
• pp.43-55
• /
• 2005

Since 1990s, increasing number of public arts have been installed in housing projects in Korea. Most of them were made of granite, bronze and stainless steel and were sculptures as well. Then it resulted in monotony. New technology and community need various Dials in material and genre of Public art. The author wonders if people really want granite sculpture, so started the study of public arts in housing projects. Unfortunately most of people related public art wanted granite sculpture. But there were some hope in survey. They wanted the other genre and material like ceramic wall, art fountain and landmark tower. This means that they care about real world like vandalism and Product Liability, but also want more fantastic and beautiful world in the second step. Recently, the facades of apartments are changing rapidly as more diverse materials in their forms, textures, and colors. And landscape designs are changing their clothes in every second as well. According to these flows public arts in apartments needs more diversified trial within genres and materials to avoid monotonous outdoor.

• 미술이론과 현장
• /
• 제7호
• /
• pp.37-64
• /
• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• 한국콘텐츠학회논문지
• /
• 제9권6호
• /
• pp.300-308
• /
• 2009

이 논문은 1987년부터 2007년까지 한국 행정학에서의 위기관리 연구 경향을 분석하고 있다. 이 논문의 연구 목적은 기존의 위기관리에 관한 연구 경향을 실증적으로 평가하고 미래 연구를 위하여 연구 주제와 방법론을 모색하고 있다. 실증 분석 결과에 따르면, 주요 연구 결과는 다음과 같다. 첫째, 80% 이상의 거의 대부분 논문이 1998년 이후에 쓰여졌고, 특히 전체 논문의 67.6%가 2003년부터 2007년 사이에 발표되었다. 둘째, 대부분의 많은 위기관리 학자들은 최근 규범적이고 이론지향적인 논문보다 문제 해결을 위한 처방 지향의 논문에 보다 많은 관심을 지니고 있다. 셋째, 전통적 안보 위기, 재난 위기, 핵심기반 위기, 생활안전 위기 중에서, 한국 행정학에서 위기를 다루는 연구논문의 74.6%는 자연재난과 인적재난을 포함하는 재난 위기를 다루고 있다. 마지막으로, 지금까지 한국 행정학에서의 위기관리 연구 경향은 주로 실증적 접근과 설문조사 보다는 기술적 접근과 문헌연구를 위주로 다루고 있다.

• 한국실내디자인학회논문집
• /
• 제24권3호
• /
• pp.59-68
• /
• 2015

As the economical and cultural levels become higher, the public have more various and new cultural desires, leading to an increase in the number and kinds of cultural facilities. Out of all the cultural facilities built in such a trend, art museums are the yardstick for a certain nation's cultural level, and the number of art museums is gradually increasing every year in Korea, as a cultural space where the public can make cultural exchanges with artists. On the contrary to the increasing number of art museums, however, the number of art museum visitors is decreasing every year, so various attempts are made to activate art museums in Korea. Thus, this study aims to seek a plan to activate the space of an art museum by improving the physical movement of art museum visitors, especially targeting small-sized ones out of all the art museums in Korea. For accurate analyses and verifications, this study used the visibility-ERAM program. As a result of analyses, this study found out and reconsidered several problems related to the space of art museums, and based on the results, the researcher could verify the related hypotheses, further comprehending possible errors of the proposed solution to those problems and supplement in a short period of time. Since such an analysis method and process has objective accuracy, it is expected that the results of this study will be used as basic data for future plans to activate the space of art museums.

• The International Journal of Costume Culture
• /
• 제7권1호
• /
• pp.1-16
• /
• 2004

Pop art, an artistic trend which was actively popular centering around popularization of America in the 1960's, appears as punk style in the 1970's and as one of diversified style in the 1980's, and have co-existed in the third culture and pluralistic combination since the 1990's. The image of pop art includes complexity, familiarity and popularity as well as extension of media, and so directly influences the fashion in the end of the 20th century. Especially, sportslook show up by the virtue of rising lower cultural area such as street fashion becoming influential and change in life style, which was recreated as clothes by developing characteristics of design including style, details and colors showed in active sports wear. This study is aimed to ana analyze the image of pop art showed again in the modern fashion in the end of the 20th century and graffiti-art which was well known to the general public after the 1980's. Through this analysis, I will study characteristics of pop art showed in sportslook which is the mainstream in modern fashion and graffiti of Keith Haring. Consequently, I suggested a functional, esthetic and future-oriented sports look design which comprises the image of the graffiti-art of Keith Haring by using Design CAD(photoshop & primavision) enabling to attempt variously and to derive quickly the output of design and textile.

• 복식문화연구
• /
• 제18권3호
• /
• pp.550-558
• /
• 2010

Russian Constructivism, which took the lead in the Russian trend of art until the late 1920's, was influenced by European Cubism and Futurism. Breaking away from the previous realistic tendency, Russian Constructivism, to meet the ideology of the revolution, insisted the "Art into Street" and the "Art in Industry" with its abstract and geometric design. Russian Constructivism effected paintings of mid 1920's, as well as Industrial design and costume design. This operated remarkable changes in Russian form of costume and textile area. An unusual situation like revolution had provided the social justification to develop a new costume design not for the special class of people, but for the general public. In this atmosphere, the plan of clothing mass production began to progress. Although the Russian Constructivism costume of arts shows the similarity in the trend of fashion and the physical forms of those days, its fundamental idea in manufacturing costumes was 'to create costumes to be possible to mass-produce and to be wearable to anyone regardless of the social class'. Therefore, Constructivism costume of arts pursued dynamism and geometric form through non-objective design that has broken away from the handcrafted and traditional standards of the past. These distinct characteristics served as a momentum to seek costume design based on productivity and functionality.

• 조형예술학연구
• /
• 제7권
• /
• pp.105-127
• /
• 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.

• 기록학연구
• /
• 제64호
• /
• pp.27-62
• /
• 2020

이 글은 '주류' 아카이브 연구에서 아직은 크게 주목하지 않고 있는, 국내외 예술계를 중심으로 부상하는 새로운 아카이브 '열병'과 '충동'의 경향을 어떻게 주류 기록학계에서 바라보고 이를 주체적으로 수용할 것인지에 대한 시론적 글의 성격을 갖는다. 구체적으로, 이 글은 몇 가지 국내 아카이브 아트의 최근 경향성에 대한 관찰을 통해서 어떻게 아카이브 아트가 미학적 태도와 방식을 갖고 역사와 기억에 관여하고 있는지, 그리고 예술계 내부 '아카이브 충동' 현상이 '기록학계' 연구 경향에 어떤 시사점이나 영향력을 미칠 수 있는 지를 살펴보고자 한다. 먼저 구체적인 해외 사례, 즉 미국의 한 공공 기록관의 아카이브 체계 내에서 아카이브 충동을 재해석하고 적극적으로 수용하려는 의미 있는 움직임을 살피고자 한다. 이에 이어서, 아직 구체적 아카이브 방법의 조직화 수준에 이르지는 않았으나 국내 예술계에서 산발적으로 시도되는 아카이브를 매개하여 이뤄지는 창작 작업의 특징과 성격을 탐색하는 작업을 시도한다. 이른바 '아카이브 아티스트'들이 기존의 기록학계에서 관찰되지 않는 방식으로 어떻게 기록되지 않은 것을 기록하고, 배제된 역사를 어떻게 미학적 언어로 소환해 풀어내는지를 살핀다. 결론적으로, 본 연구는 '아카이브 아트'라는 이 새로운예술 경향으로부터, 전통의 역사적 기록을 보관박스에서 끄집어내 동시대적 정서 구조 안에서 살아있는 아카이브로 재해석할 수 있는 가능성을 타진한다.