• Asia Pacific Journal of Business Review
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• v.3 no.1
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• pp.39-55
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• 2018

This study emphasizes the necessity of implementing political supports for artists and suggests several details to develop related industries. For these objectives this study analyzes the trend in related researches and overhauls the aid system. It then comes up with results about how artists are aware of the supporting system by conducting a survey of 140 artists. The result of summarize as follows. First, most of the artists have severely limited access to government-funded or private aid programs. This signals the urgency of establishing an integrated portal site since the artists aren't evenly offered the information they need. Along with this, artists should note that the main purpose of this portal site is focused on providing information related to livelihoods. Secondly, the analysis shows the lack of infrastructure for supporting artists. Both governmental and private sectors should take charge of establishing art consulting agencies which can bring efforts to improve rights and interests of many artists via a number of channels. Supporting artists also presents its necessity about solving social problems besides the one suggested by previous studies. This study has its significance by implying the actual perspectives of artists while most of the related studies are rather theoretical.

• Journal of Korea Planning Association
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• v.54 no.3
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• pp.5-14
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• 2019

Starting with the market vitalization project in 2008, The Gwangju Dae-in Art Market has attracted to many artists, changing into cultural and art market. After the project was carried out for a certain period of time, a study was conducted to determine the differing opinions of the artists and merchants in regards to the market. The study also examined and analyzed the factors affecting the artists' continuous activities. The difference in recognition perception between artists and merchants was analyzed through a T-test. PLS-regression analysis was used for the artists' continuing intention to work. As a result, the artists and merchants recognized that the number of visitors increased after the influx of artists. Programs that had a positive impact on the artist's intention for sustainable activities were as follows: the 'Art Products Creation Workshop', where artists, merchants, and citizens collaborate to develop commodities needed for the market; 'Hanpyeong Gallery', where artists directly or indirectly interact with merchants and citizens; the 'Artist-Merchant Workshop', where artists and merchants produce articles required for the market; 'C'est Si Bon', which expresses the placeness of the market into art; and the 'Dae-in Art Night Market', where citizens, merchants and visitors can sell their own works. On the other hand, programs with the negative effect were those where artists' participation was low or none, as the policy implications, they should be actively develop this type of programs, where artists could participate and interact with citizens and merchants, like this visitors and sales can be increased.

• The Journal of the Korea Contents Association
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• v.15 no.6
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• pp.115-124
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• 2015

In recent days, the issues regarding the artists' status as labor and improvements of laboring circumstances, creating the well-fare system for artists are raised in our society. This paper searches for the process of various artists unions which are performing the important roles in the musical theatre industry in the U.S.A. The artists unions have developed the bargaining contracts and strengthened the protection of their original works. The discussions among many unions provide useful information to the independent artists when they make contracts in our Korean musical theatre market.

• International Journal of Advanced Culture Technology
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• v.9 no.3
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• pp.243-252
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• 2021

The Gwangju Daein Art Market, once declared as a declined market, was regarded as a success after an inflow of artists. However, the number of resident artists decreased from 100 at the end of 2015 to 39, to 9 in 2018, and to 6 in 2021. The project site showed signs of decline toward the completion of the project, leading to a Longitudinal study on the project's sustainability. The purpose of this study is to investigate the causes of outflow of artists and the network characteristics of the remaining artists from a sustainability perspective and thereby draw policy implications. As an analysis method, in-depth interviews and surveys were conducted. After that, we checked the remaining artists in 2018 and 2021 and identified the network characteristics. Based on the interview results, the causes of outflow were classified into programmatic, physical, and other factors. The results of a comparison showed that the levels of understanding, satisfaction, and frequency of exchange decreased. The study also provides policy implications. First, a sustainable, long-term program for the artists must involve the improvement of physical space. Second, participation in the market should be encouraged by working with artists on program composition or business progress. Third, programs for supporting exchange among artists should be further strengthened.

• Smart Media Journal
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• v.12 no.3
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• pp.85-92
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• 2023

This study was conducted to investigate the motives and effects of artists and teachers who participated in the ' Explore Life through Art' support project for school education by theme of culture and arts. As a result of research analysis using online survey and in-depth interview research method, it was found that both intrinsic and extrinsic motives have a complex effect on artists and teachers' motivation to participate in the project. As for the effectiveness of participating in the project, the trust between artists and teachers and the contribution of education were positive, but the trust and satisfaction with the institution were negative. In order to increase the effectiveness of the project, it is required to improve the operation and management of the operating institution. Motivation and effectiveness of project participation are important factors in improving the quality of a project, and it is hoped that this study will serve as a basis for practical discussions on the role of operating institutions and projects.

• Korean Association of Arts Management
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• no.56
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• pp.189-215
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• 2020

This study aims to understand the process of valuing contemporary artworks by young and emerging artists via online art platforms. This paper conceptualizes Bourdieu's theory of cultural capital, which theoretically guides us for conducting a case study of Saatchi Art. This article mainly collected data by interviewing seven Korean artists who were selected by our case with the supplement information carried out direct observation and document reviews. By analyzing the gathered data, the key finding of this research is that the selection of artists in Saatchi Art's curatorial program implicitly admits and guarantees the value of their artworks. By doing so, it contributes to building symbolic capital for the selected artists. This article also contends that such construction of the artists' symbolic capital results from the accumulated symbolic capitals of the founder and curator of the online platform. The theoretical contribution of this paper is to expand previous research on valuing artworks in the offline art world into the online one.

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.1 s.1
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• pp.46-56
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• 2004

This study is an investigation research regarding Beauty Artists' perception degree about self-Technic. Therefore by grasping the field which the beauty artists recognize the insufficiency while they perform their task, the result which executed a question investigation for 430 workers at the beauty shops which are located in the Jeollabuk-do area is the same following. As a result on the subject, after the beauty artists receive a fundamental beauty care education, and when they are engaged in a real beauty care shop, in order not for them to have difficulties in business accomplishment, more realistic and active curriculum has to be made up. To do like this, more researches and more efforts in the center of the beauty care group and the educational institution are demanded. In addition, so as to grow as the expert of the beauty care artist, the systemic and internal educational training program which considers the curriculum contents, a time and the place must be provided, by developing as levels and steps of the beauty artists.

• Korean Association of Arts Management
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• no.51
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• pp.5-34
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• 2019

This study is a qualitative study conducted to identify environmental factors that impede emerging artists' ongoing creative activities, focusing on the local cultural ecosystem that they are part of. By doing so, we tried to understand the dynamics between key stake holders in the ecosystem that these young artists interact with and how they build and perceive their own, local cultural environment. The central research question of this study is: what factors impede the continuous creative activities of young artists and what causes them to leave local art scenes? The research was conducted thoroughly on the basis of emerging artists' experience and perspectives and applied to Creative Sector Holistic Model for analysis. The data of this research were collected based on two national-funding projects to support young artists from 2016 to 2018. The main research method of this study was interviews: official and casual interviews were executed with 29 young artists aged 20-34 who work in the fields of painting, literature, sculpture, video, korean traditional music, visual design and crafts. For the analysis of the data, the Creative Sector Holistic Model(Wyszomirski, 2008), which had applied the ecological logic to the creative industries, was applied. The result of this study shows that economic difficulties were not the only hindering factor in their sustainable art-making process. Various impeding factors derived from the local cultural ecosystem have been identified within the Holistic Model, demonstrating that these factors are all intertwined and connected. Thus, analyzing and understanding one's local cultural ecosystem can provide keys to long-term and lasting impacts when a local authorities wish to support young artists for the future of local cultural environment.

• The Journal of Art Theory & Practice
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• no.3
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• International Journal of Computer Science & Network Security
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• v.21 no.4
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• pp.229-240
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• 2021

The article seeks to explore Ukrainian media art and its features in a global context. In particular, it performs an in-depth analysis of the stages of its development from video art of the 1990s, media installations of the 2000s, and to various digital and VR technologies today. Due to historical circumstances, the development of media art was quite rapid, as young artists sought to gain new experience in media art. Most often, their experience was broadened through international cooperation and studying abroad. The paper analyzes the presentation of Ukrainian media art outside the country during 1993-2020 and distinguishes the main thematic areas of the artists' work. It examines how artists present and reveal the peculiarities of the Ukrainian worldview, aesthetics, and culture through the problematization of certain aspects and themes in their work. Specifically, among the principal topics which are problematized in the work of media artists are a sensory experience, limited sensory capabilities, gender issues, the Chernobyl tragedy, the development of utopian models of the city, and global communication. The leading themes of Ukrainian artists also include revolution and war. Notably, political and social sentiments determine the unique energy and vitality of contemporary Ukrainian art, create a revolutionary creative environment, and unite media artists in group art projects. It is concluded that by showing, exhibiting, and presenting them outside the country, artists shape the image of Ukrainian art in a global context.