• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.1-13
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• 2013

This study examines the processes and characteristics of modern Korean embroidery art from the beginning of Korean modern times to 1945 which was the year of independence from Japan. An objective basis is presented by the analysis of articles and illustrations from the press and publications of the corresponding times. The significance of this study is to research the modern Korean embroidery art, which connected traditional times with modern Korean culture in order to investigate its identity. Due to Korea's modern embroidery art being started in the Japanese colonial times, there are some limits in it because of it being influenced by Western modern embroidery art and Japanese embroidery design. However, modern Korean embroidery art expanded from the private space to public space such as schools, open lectures and exhibitions. It has also accepted diverse foreign embroidery forms, which have been commercialized and accepted as art. The embroidery craft as commerce and art has given women the chance to achieve economic independence and to improve their social status. Modern Korean embroidery was art for the modern woman who had been educated in academic art, as well as a liberal art for wealthy housewives. It was the foundation of economic independence for poor rural women. It can be concluded that Modern Korean embroidery art has been accepted and developed by women in modern times.

• Journal of the Korean Society of Costume
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• v.61 no.5
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• pp.106-122
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• 2011

The ultimate purpose of the research is to solve the problem that fashion inspired by les Nouveau Pop Artic criticism and satirical factors is interpreted as concept of American Pop Art style, even though there is distinct difference between les Nouveau Pop Art style and American Pop Art style. We think that the reason causing the problem is that les Nouveau Pop Art is not familiar to the general public, even though it is getting attentions as trends treated by les Nouveau Pop Artists. Above all there is insufficient study to establish a theoretical system and a concrete concept on les Nouveau Pop Art. Therefore, this study is to set up the theoretical concept on les Nouveau Pop Art based on comparisons and analysis of the characteristics of works expressed les Nouveau Pop artists, and to draw the concept of les Nouveau Pop image fashion. The result of this study indicate that les Nouveau Pop Art Image Fashion is defined as "fashion design borrowing the concept and image from les Nouveau Pop Art and blending and consisting of the themes, characteristics and techniques from les Nouveau Pop Art.

• Journal of Arbitration Studies
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• v.28 no.3
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• pp.75-88
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• 2018

As the Korean economy continues to grow, the desire to own art increases. Despite a number of recent controversies surrounding the sale of counterfeit art pieces, the scale of the problem remains small. Nevertheless, there is a lack of relevant analysis and research. Given the increased interest in Korean arts and crafts and the growing awareness of counterfeit art, it is useful to study legal problems related to counterfeit art. The purpose of this review is to examine the concept and range of counterfeit artwork and explore corresponding legal problems and solutions.

• Journal of the Korean Society of Food Culture
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• v.20 no.6
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• pp.731-737
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• 2005

The purpose of this study was to investigate the preference of the general public about Japanese foods. Self-adminitered questionnaires were collected from 217 residents in seoul and its vicinities. Data was analysed by chi-square test, t-test and one-way ANOVA. The preference of Japanese food was generally high except for the items. These was a significant difference in the average score of preference for each kind of Japanese food according to gender and age. Saengsunchobab, Saewootuegim, Gowangawhae, Yhachai tuegim, Naembiwoodong and kimchobab are highly preferred Japanese foods, whereas Domijiri, Moduemnaembi, Haesamchowhae and Mooneachowhae are poorly considered among the general public.

• Archives of design research
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• v.20 no.1 s.69
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• pp.65-78
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• 2007

The mobile phone and wireless network, location based technology and other newly introduced technologies and communication media gave birth to the new terminology "ubiquitous" and are changing our daily life. Influence of such technologies and communication media is not an exception in the arts. New media art pieces using these technologies are increasing, and taking on the characteristics of public art within a wider scope of a city as a backdrop, beyond the traditional boundaries of art galleries. Of such art, locative media art using locative media has a closer relationship with city space than any other form of an, and makes various attempts to allow the spectator to reinterpret and experience city space and induce communication. These characteristics of locative media art can be considered as a method that can solve quality problems of the city space, especially the loss of the sense of place and the absence of communication. is one such locative media project with a purpose of solving quality problems of city space, especially the recovery of commercial sites and inducing communication. This project uses the paths of the city as its canvas, movement of people as its brush, the color of the roads as its pallet, and by allowing the partakers to draw paths of their own and to share their paths with others. People are encouraged to share stories about their paths. The project proceeds using barcodes that are frequently used commercially. When users wish to create their own place, they can enter their place and colors of their choice using input devices installed in the city space. Paths that are created through such a process will be displayed in public areas throughout the city, shared with others, and can create and share a stories about the city using on/off-line media.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.211-224
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• 2012

The performance-related industry has grown independently without being protected by the nation's great policy and legal boundary in the meantime. Even in the aspect of performance Act, the thoroughly pro-regulation policy on culture & art was taken while proceeding with segmenting the legislation rather than the freedom of performance art or the promotion of performance activity. Totally 17 cases of regulations including the abolition of scenario review system in January 1999 were fully abolished. Even 6 cases of regulations were steeply eased. Also, the importance of culture & art was recognized. Thus, to promote and support it in the governmental dimension, the substantial performance art policy system was adopted for training the performance art staff manpower and the national subsidy on performance hall. In performance art, the necessity of professionals' participation was imprinted such as stage lighting, sound, and stage machine. Accordingly, many regulations on performance art were all abolished except only the minimum issues for maintaining public order in about 50 years since the establishment of the government. 'Movie' was excluded from the definition of 'public performance' in 2002. Thus, the performance report system, which had been left institutionally from the Japanese colonial period, was eternally abolished. Following this, the performance Act was changed into the legislation of the supporting promoting policy, which reflected historical situation of needing to contribute to promoting public welfare, from the regulation-centered Act.

• The Journal of Art Theory & Practice
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• no.8
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• pp.145-162
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• 2009

Space is a phenomenon which is formed in the connection between environment and human beings and public space is built by a complex phenomenon of space. Each and every individual is connected to an environment and these individuals are connected to one another. A public commemorative space means souvenir and memorial which is designed for special purpose of remembrance of a specific area. One of the purposes of public commemorative space is memorial and that is the reason of doing public relation and educating citizens over the transom. However, the meaning and value of commemorative subject cannot be delivered or stuffed one-sidely. The target who receives messages from public commemorative space has reinterpreted the messages of his own with his personal experience, knowledge and sensitivity. It results in an unexpected phenomenon of public commemorative space. Therefore, public commemorative space should be considered in a mutual communication structure rather than a purpose of memorial itself. Korean public commemorative space is focused on public relation and education for memorial. In other words, Korean public commemorative space is neglected its important possibility of the productive chapter of mutual communication. The mutual communication structure of public commemorative space which is based on variety and haecceity is ripped up by the message over the transom. It destroys the self-control and creativity of public commemorative space, and derives a negative result. By studying the function and meaning of public commemorative space, we should make the best use of it.

• Korean Institute of Interior Design Journal
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• no.3
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• pp.33-37
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• 1994

Increasing interest and providing educational experience for the public have long been a major ARt Museum goal. This interest raises the question of how visitors respond to museum exhibits. Much researches have been done which indicate the newer and more interactive exhibits are indeed more didactic and enjoyable than conventional exhibits. This study examined the effectiveness of art exhibits which display information about the creative process of developing a work art along with the final work of art to test if they results in more viewer interest and greater appreciation of the final work of art than those which display only the final work of art. In the early part of the 1991 spring, a counterblancing AB/BA quasi-experiment was carried out in the Jhnson Museum of Art, Cornell University. Methods used to collect and measure visitory interest and appreciation were unobtrusive observation and survey questionnaire. As the indirect measurement of visitor interest, attracting power and holding power were measured by unobstrusive observation of visitor time spent, while the direct measurement of visitor interest and appreciation, visitor's interest, understanding , and degree of favorableness were measured by survey questinnaire. Data analysis reached conclusion that the process approach fine art exhibit designs significantly resulted in more viewer interest and greater appreciation of art work than the conventional fine art exhibit design.

• Korean Institute of Interior Design Journal
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• v.23 no.1
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• pp.152-161
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• 2014

Beijing, the capital city of China, has gradually increased its amount of culture space and has also introduced a diverse range of cultural facilities to improve the satisfaction of its citizens lives. In particular are its art museums, which are a symbol of the urban culture and enrich the cultural life of its citizens and are also expected to play a role as a psychological pivot point. However, in comparison with the characteristics of various ethics, local, and the influence on the museums of China, studies which analyze the exterior of the art museums are not sufficient. This is because previous research has focused too heavily on the interior of the art museums. This paper aims to derive distinction through the analysis of the exterior of several art museums and present design factors and application methodology. This research looks at art museums in China and analyzes the current state of the art museums that have been developed based on the culture of Beijing. Through analyzing the case study of five art museums that have been selected in Beijing we can improve our understanding of Chinese culture space and derive distinct design factors. Distinct factors in the exterior of art museums include connection, culture, geographic features, public, and creation. This study is expected to contribute to that exterior of the art museum will be as a contact zone to form a spatial connection and a cultural symbol that can reflect Beijing's unique culture characteristics.

• Cartoon and Animation Studies
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• s.39
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• pp.297-320
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• 2015

Modern technology in the development and convergence of art brought the rapid development of the media arts actively accommodating 'media art' digital media. It has to go to expand the area and limitations as a basis of communication in the 21st century, a new artistic creativity, through the gathering of the existing chain of modern digital mobile technologies and new genre public art that is based on interactive communication break down the boundaries between sectors It has evolved into. This fusion of high technology and the art of mobile interactive media art is to overcome the limitations of time and physical space, as an active subject of interaction and participation, and expanding the range of experiential communications, such as art and science, cultural industries giving provides a flexible platform for a variety of applications. This study presents an expanded paradigm of the new communication and interactive media that define the reporting year review through the literature on art, experiential mobile communications through a case study of mobile interactive media art that is used as a medium of artistic expression the interactive effect was analyzed as a possible new public art. Convergence and interactivity, mobile interactive media art as a buzzword experience has proposed a new approach to high-tech and art and meet the new sensibility of our life and communication, unlimited possibilities worthy of the contemporary trend of convergence and consilience with a new art genre is expected to continued to evolve and develop.