• Korea Trade Review
• /
• v.41 no.4
• /
• pp.111-129
• /
• 2016

In this paper, I reviewed the analysis of possible ICC model of international sale contract terms used in the international artwork trade. Based on this, the provisions proposed considering the specialties of the international artworks trade. The purpose of this research study is to help practitioners draw up a contract of international artworks trade. In Chapter II, I reviewed the highlights of the international sale of goods contract. In Chapter III, I discussed the issues that arise in creating specific provisions on the international artworks trade agreements. In Chapter IV, I discussed the issues in creating the general provisions on the international artworks trade agreements. Quantity provisions of the international artworks sales contract should include the "more or less" clause. And it should also clearly define the scope of the author's property rights transfer in the copyright provisions. Even if a buyer has been assigned the copyright of artworks from the artist, if the buyer modifies the artworks without permission, moral rights can be violated. In addition, even if a buyer has been assigned all of the intellectual property rights of the artists, if the buyer does not have the specific provisions, the buyer must keep in mind that the unauthorized publication of artworks, film production, merchandising, etc, may infringe the right to create derivative works.

• The Journal of Art Theory & Practice
• /
• no.2
• /
• pp.169-190
• /
• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• Journal of Digital Contents Society
• /
• v.13 no.3
• /
• pp.439-449
• /
• 2012

Recently, many interactive artworks produce through convergence of art and scientific technology. Artists or designers should cooperate with other areas for analysis in order to share database. According to these requirements, In this study, we analyze Kandinsky's works which are more emphasis on subject area than the emphasis to background area by using a number of colors, faces, and brightness levels. Due to this approach, it determines how to represent for stable screen composition attracting viewer's eyes. As a result, the subject area has more a number of colors, faces, and brightness levels than the background area. In addition, we produce the interactive artwork based on the analyzed data. According to the requirement of convergence and collaboration in the historical background, this study will be able to contribute to make the collaboration by sharing common information between artists and professionals in other areas. In addition, it is expected that other production makers who do not have the background of arts education will be able to configure the visual screen.

• Review of Culture and Economy
• /
• v.21 no.1
• /
• pp.85-104
• /
• 2018

The studies related to the price of artworks have focused on how factors that are determined on production level, such as artists and the artwork materials of the studies, affect the artwork prices. As 'Dansekhwa' is in the spotlight within local Korean art auction matket, this study would like to analyze the trend of the price changes of 'Dansekhwa' with its growing popularity among the public. We have estimated the price changes based on 4,199 auction data of 20 artists with top 20 auction prices selected by the Korean Art Price Appraisal Association, between 2005 and 2016. Also, in order to compare and analyze the price changes of the 'Dansekhwa' products, we have classified the 20 artists into groups of Dansekhwa and non-Dansekhwa. Starting from 2013, when Dansekhwa has first appeared, we applied the Difference in the Difference model(DiD) to estimate the result. As a result, the difference between two groups showed 71% of price difference due to the increase in popularity of Dansekhwa. This result proves that recognition level has an important role for increase in price of an artwork. Moreover, the fact that the formalized style of Dansekhwa has linked to the appreciation of the price means that production of information could play an essential role in growth of art market. As recognition level of Korean artists and their artworks is considerably low within the local art market, putting in the effort to increase the popularity of artworks among the public might be a helpful way to magnify the potential demand.

• Proceedings of the Korea Contents Association Conference
• /
• 2008.05a
• /
• pp.203-207
• /
• 2008

The production process of the 3D-animation roughly consists of the pre-production, the main-production and the post-production. The pre-production, which is not only the outset of whole procedure among them but also the process to predict and design overall plan collectively is the most important step. A much more specific and perfect pre-production structure is needed to produce a high quality 3D-animation. Moreover, the standard 3D efficient lighting model is gathering strength as 2D and 3D artworks which are completed in this step maintain colors and looks in the main as well as post-production consistently. This study will make up for the weak points and help both to predict the color range of the overall 3D-animation product and to promote the application range of the 3D lighting system on the pre-production stage by developing the standard 3D lighting model applicable on the early step and calculating its lighting parameter properties.

• International journal of advanced smart convergence
• /
• v.7 no.3
• /
• pp.130-139
• /
• 2018

This study is to analyze the relationship between character and human semantic production through research on character visualization artworks and to develop a creative platform that visually expresses the formative and semantic dynamics of characters using the results will be. The 3D spatial interaction system using the character visualization proposed generates the transformation of the character in real time using the interaction with user and the deconstruction of the character structure. Transformations of characters including the intentions of the viewers provide a dynamic visual representation to the viewer and maximize the efficiency of meaning transfer by producing various related meanings. The method of dynamic deconstruction and reconstruction of the characters provided by this system creates special shapes that viewers cannot imagine until now and further extends the interpretation range of the meaning of the characters. Therefore, the proposed system not only induces an active viewing attitude from viewers, but also gives them an opportunity to enjoy watching the artwork and demonstrate creativity as a creator. This system induces new gestures of the viewer in real time through the transformation of characters in accordance with the viewer''s gesture, and has the feature of exchanging emotions with viewers.

• The Journal of the Korea Contents Association
• /
• v.11 no.3
• /
• pp.230-240
• /
• 2011

A gallery provides the function to make opportunities for artist to meet the customers who would buy the products from them. And there was performed the place where artist who production provider, planner, managers and private collectors met to distribute artworks and to educate fine art for public and provide a chance sending leisure time. We investigated this galleries at old urban center in daegeon region by the deep interview and Delphi method. A galleries was operated by a sense of duty and pride. Though its environment is poor, it grows up the young artist and art trends. By delphi results, the role of gallery is recognized as the discovery of an unknown young artist and provider of art trend and paradigm. Also they was recognized as the space for social and cultural responsibility operation culture. Galleries was recognized as key factors as literary value, marketability and harmony between gallery and artworks. Artist was known as a key factors as gallery's expertise, gallery awareness and capacity for artworks selling. Gallery will be considered the functions as the various cultural experience space and culture service space. Although galleries are passive and one dimensional functions.

• Science of Emotion and Sensibility
• /
• v.8 no.4
• /
• pp.423-433
• /
• 2005

The computer hardware development has provided many chances of emergence between art and technology. In many cases today's interactive artworks cannot be completed without audience's participation. The interactive production process with technical supplementation can be celled feedback. Mr. Nam Jun Paik showed 'Participant TV' that interacts with audience's response in real time. It means artwork changes with the constantly changing value from the data set from human visual perception. Dan Graham showed another feedback related work, which delays 5second playback in mirror that implies consequence of time. Today's media art has to sublimate coincidence, time ant audience into philosophical artwork through consonance that comes with video and sound as we can see from Bill Viola. Stelarc produced artworks. That use input data that is weak signals from brain, muscles. Through a terminal display with player, body expanded meaning of media. Jeffrey Shaw's 'Legible City' provided a fabrication of the reality with the interaction of bicycle's pedal speed and steering direction that is controlled by 4river. RE:MARK used microphone as input device as Edmond Couchot's 'Je same a la vent' and Nam Jun Paik's 'Participant TV' did. There is no communication without feedback between human being. The reality makes audience involved into artworks. That is the reason why feedback has to be natural. Through the feedback process, the originality of the idea is altered by audience. The feedback is not just part of flesh of artwork rather skeleton of it. Technological showoff cannot be art itself The perfection of technological application plan helps feedback that interacts with audience naturally in order that audience hoes not feel the feedback as artificial plan. Interactive media art has to be evolved into new media form with new integration feedback technology.

• Journal of the Korea Furniture Society
• /
• v.27 no.2
• /
• pp.96-103
• /
• 2016

This article is to develop test product as adopting motifs from Andong Hahoe Village registered in the UNESCO World Heritage. This study associates physiographic features and images of Hahoe Village with test product. In the research result of this study, the value of product and possibility of success of test product was found as follows. Firstly, Making the puzzle-oriented Desk Service Hahoe Village views by using 22 different styles & functional artworks. Secondly, Producing the tangible forms such as a tree, thatched cottage, arbor, tile-roofed house and ferryboat by casting technique. Thirdly, Designing the shape of the terrain by utilizing computer programing softwares such as CAD drawings and ARTCAM. Finally, Developing the mass-produce goods reflecting region historical and cultural characteristics. I expect this study may increase of interest of our country's culture and play several roles of the bridgehead for product development. Also I reconsider sensitivity recovery of users and our cultural value increase.

• International journal of advanced smart convergence
• /
• v.12 no.2
• /
• pp.84-89
• /
• 2023

In recent years, with the breakthrough of Artificial Intelligence (AI) technology in deep learning algorithms such as Generative Adversarial Networks (GANs) and Variational Autoencoders (VAE), AI generation technology has rapidly expanded in various sub-sectors in the art field. 2022 as the explosive year of AI-generated art, especially in the creation of AI-generated art creative design, many excellent works have been born, which has improved the work efficiency of art design. This study analyzed the application design characteristics of AI generation technology in two sub fields of artistic creative design of AI painting and AI animation production , and compares the differences between traditional painting and AI painting in the field of painting. Through the research of this paper, the advantages and problems in the process of AI creative design are summarized. Although AI art designs are affected by technical limitations, there are still flaws in artworks and practical problems such as copyright and income, but it provides a strong technical guarantee in the expansion of subdivisions of artistic innovation and technology integration, and has extremely high research value.