• 한국가구학회지
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• 제12권2호
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• pp.91-103
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• 2001

Modern Art Furniture has been represented new idea and energy for futuristic furniture design by interacting and confronting with 3 points of view, which are; the idea and emotion of art, the form and concept of design, and the technique and materials of craft. Besides, meanings of modern Art Furniture are also can be described as followed. First, offend of concept of furniture design area to art, second, help to raise the social status of people by making art to be popularized, third, present a new direction of futuristic furniture design culture. Art Furniture design area, which has been trying to make a constant approach to human consideration and sensibility, leads new furniture design culture as an independent art genre in this 21st Century.

• 미술이론과 현장
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• 제6호
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• pp.101-121
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• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• 패션비즈니스
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• 제24권3호
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• pp.114-120
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• 2020

This paper is a study of culture and identity expressed in textile art works of the age of globalization, centering on the Beijing International Fiber Art Biennale. This study began with the idea that globalism would develop regional cultural diversity as well as contribute to the field of art. In 2000, the Beijing International Fiber Art Biennale held its first large exhibition, and a total of 10 biennales were held from then until 2018. Get an understanding of the Beijing International fiber art Biennale, and select award-winning works from one to ten times to learn about cultural characteristics and identity. The analysis was based on the works of awards from China and Japan, including Korea, which are the center of East Asian culture. The Beijing International Fiber Art Biennale has steadily increased the number of participating countries, writers and works, and once again opened the stage for the revival of textile art following the Lausanne International Tapestry Biennale. Through the Beijing International Fiber Art Biennale, textile artists hope to promote world harmony in textile art, respect cultural diversity and conduct equal dialogue between East and West cultures.

• 한국실내디자인학회논문집
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• 제17권2호
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• pp.140-149
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• 2008

The purpose of this study is to consider the present situation and cases of culture marketing as brand identity shown in Window Display Area, focusing on department store and fashion brand, one of the recent cultural trends. Display in windows of existing department store and fashion brand has represented ultimate goal of sales by coordination of products, seasons and themes based on profits. However, display has recently become brand identity which department store and fashion brand create by correlating art and commercialism since the era of various lifestyles and emotional consumption. Through identity in department store and fashion brand, cultural marketing shown in show window display space cooperates with customers, corporations, artists and culture and art foundations. The result of this research is the following : First, corporations result in improvement in their image and brand perception with a distinctive marketing strategy. Second, as an agent of art customers form a positive relation with corporations and can feel emotional values and enjoy culture through cultural marketing contents, which are shown by department store and brand. Third, we can expect that artists, culture and art foundations form the best partnership by creative activities with department store and brand and cultural marketing activities make a great contribution towards society.

• 복식문화연구
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• 제17권6호
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• pp.1083-1098
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• 2009

The purpose of the study is to revaluate the new artistic values of Suprematism that immensely influenced the Russian culture in the beginning of the 20th century. Also through studying the relationship between people and costume within works of Malevich, who wanted to portray humanity through his art works, this study will research on how Suprematism not just stood as Russian Avant-garde art but significantly contributed to art and costume expression. The study methods are as follows. First, consider the formative background of Suprematism style of arts. Second, study of the development of Suprematism art through both Suprematism art and Non-objective art. Third, study how Suprematism style of arts is portrayed in art costume through works of Malevich. The results of the study are as follows. The Russian Suprematism art costume strictly originated from the Russian Suprematism style of arts. Suprematism simplified any reproductive element of fine art with a creative energy, which reflects the statement of Malevich that said, "The object does not exist, it only stands as a symbol." In other words, Suprematism abolished ordinary response to basic environment, and created a much more serious reality than the innate reality of the environment. When applied to art costume, such style sought after geometrical simplicity in shape and Neo-Premitivism trait in color. This trend is also expressed in 21st century fashion in new forms of Minimalism or Futurism. In this respect, Suprematism still holds an artistic value in a novel form even after a century since the beginning of 20th century when Malevich first presented Suprematism.

• 국제지역연구
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• 제20권4호
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• pp.205-225
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• 2016

최근 지역재생의 수단으로서 공공미술이 많은 지역에서 시행되고 있다. 문화를 통해 낙후된 지역에 활기를 불어넣는 것이 목적이다. 그러나 제도적으로 시행된 공공미술은 단발적인 행사에 그치거나, 규격화되고 획일화된 모습을 보이고 있다. 이러한 문제점의 보안정책으로 등장한 마을미술 프로젝트는 마을의 자산을 활용하고, 주민의 예술적 행위가 주된 요소이다. 이를 통하여 지역정체성이 강화되고, 공동체성을 회복하게 되었다. 또한, 마을미술 프로젝트를 계기로 삼아, 타 정책 및 사업과 연계를 통해 지역 활성화를 가져온 마을도 생겨났다. 이에 본 연구에서는 마을미술 프로젝트의 장소특정성을 통한 지역정체성 강화 및 공동체 회복 과정을 살펴보고, 마을미술 프로젝트를 통하여 지역재생 가능성을 모색해보고자 한다.

• International Journal of Advanced Culture Technology
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• 제10권3호
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• pp.184-191
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• 2022

Unity Painting is a concept that the researcher put forward to locate his own creative style in his creation. Unity Painting, with a clue of reflecting the characteristics of contemporary oriental visual culture, combines the contemporary painting features of a variety of western painting languages. It aims to link the painting system formed in the context of oriental culture with the world's contemporary art and try to present a new contemporary painting with oriental genes. According to the Chinese literature, the researcher sorted out the five main colors (五正色), ten colors for Heavenly Stems (十天干色彩), five intermediate colors (五间色), and five colors as the expression of the Chi of Thriving and Fading and the Chi of Birth and Death, and deduced the summary and stipulation of the color of yin-yang and five elements under the concept of Unity Painting. Based on this, the researcher drew the color-phase and its variation stipulation diagram of ten colors for Heavenly Stems, the orientation of Heavenly Stems (天干方位), color-phase variation diagram (色相变化图), as well as the stipulation system diagram of the five elements (五行), Heavenly Stems and Earthly Branches (干支), energy, time and colors. Through the research and collation of the literature, the researcher took the stipulated five elements color (五行色彩) as the basis of the color concept of creation to complete the work. This paper discusses how to find the starting point of contemporary art creation in the context of traditional oriental culture, sorts out the practical creation logic, and provides ideas for subsequent researchers, with a view to better establishing the identity of the creator and providing research significance and value in the context of the study of oriental art.

• 미술이론과 현장
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• 제4호
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• pp.33-56
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• 2006

'문화 전쟁(Culture Wars)'은 1980년대 말부터 1990년대 초 미국에서 보수주의자와 진보주의자 사이에 벌어진 문화적 논쟁을 일컫는다. 이 용어는 제임스 헌터(James Hunter)의 책 "문화 전쟁: 미국을 정의하려는 노력(Culture Wars: The Struggle to Define America)"의 출간으로 대중화되었고, 당시 공화당 대통령 후보였던 패트릭 부캐넌(Patrick Buchanan)에 의해 급부상하게 된다. 그는 "이 나라에는 지금 종교 전쟁, 즉 냉전만큼 중요한 '문화 전쟁'이 일어나고 있고, 이것은 미국의 영혼을 위한 전쟁이다." 라고 부르짖으며 급변하는 문화 정체성의 위기 속에서 미국적인 전통을 지키고자 하였다. 이 문화 전쟁은 여러 다양한 논쟁을 함의하고 있었는데, 교목제도의 폐지, 교육기관에서의 다문화주의(multiculturalism) 커리큘럼 도입, 동성애자의 군복무, 낙태, 총기 소지 등의 허용 문제로 당시 미국의 교육계, 문화계뿐만 아니라 정치계, 입법부에서도 첨예한 대립 구도를 형성하였다. 미술계에서 가장 치열했던 문화 전쟁은 안드레 세라노(Andres Serrano)의 작품전과 ${\ll}$로버트 메플소프: 완벽한 순간(Robert Mapplethorpe: The Perfect Moment)전${\gg}$이 공공기금인 국립예술진흥기금(National Endowments for the Arts, NEA)의 지원을 받아 개최되는 것이 타당한 것이냐에 대한 논쟁에서 표출되었다. 이 두 전시를 기점으로 그 뒤로도 여러 미술 전시회와 음악회, 연극 등을 둘러싼 NEA 기금 지원과 관련한 분쟁은 한동안 계속된다. 이 글은 이러한 미술계 문화 전쟁의 발전 과정과 몇몇 논점에 초점을 맞추되, 세라노나 메플소프의 작품 자체를 분석하고 비평하는 글이 아님을 밝혀 둔다. 본 연구는 분쟁의 전개에 대한 상세한 기술적, 연대기적 조사보다는 그 발단과 전개 과정에서 몇 가지 핵심적인 사항들을 기술하고, 이 사항들이 암시하는 정치적, 미학적, 미술사적 시각의 충돌에 대해 지적하는 글이 될 것이다. 더 나아가 당시 이러한 논쟁이 미국 미술계에 의미하던 것, 미국 문화 전체에 의미하던 것은 과연 무엇인가에 대한 비평적 질문으로 글을 맺고자 한다.

• 한국의류학회지
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• 제45권3호
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• pp.546-558
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• 2021

As consumers' demand for corporate social responsibility (CSR) has increased, luxury fashion brands have been providing support for arts and culture as CSR activities. The purpose of this study is to examine patronage of arts and culture as corporate philanthropy and to analyze the motives luxury fashion brands have for supporting arts and culture. The study investigates patronage of arts and culture through literature reviews and conducts case studies of luxury fashion brands' patronage. The results of the analysis are as follows: first, patronage based on public interest reduces the social costs of arts and culture and helps to create aesthetic experiences for the public; second, sustainable patronage is not only priceless PR for luxury fashion brands, it also supports the development of arts and culture; third, authentic patronage obviates the criticism that luxury fashion brands only support arts and culture for the purposes of profit, by separating business operations from patronage. In conclusion, those three elements are at the heart of patronage for the arts and culture and fashion companies need to support culture and the arts by taking a long-term perspective when it comes to creating social value.

• 복식
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• 제63권8호
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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.