• The Journal of Art Theory & Practice
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• no.1
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• pp.7-22
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• 2003

What is 'Art Theory'? In the western sense, the term poses a vague ambiguity, and in the eastern, it is rather an abstract and metaphysical concept. As for etymology, theory is derived from theoria and theoria from theoros. It refers to an act of viewing or seeing, of course not in a metaphysical sense. Plato understood it as 'eide'. During the time of Plotinus, theoria encompassed gazing at every possible reality, and this gazing, that is theoria, is closely related to reality as aunit that theoriacan perceive. However, we tend to distinguish, as other scientists of dualism have done, studio art from theory since a pre-modern approach to art has been particularly tuned to studio practice, set apart from theory. Therefore, in studio classes, students are expected to learn the subject based on the foundational curriculum methods such as medium, genre, technique:, rather than bringing out their own interpretations and discussing theories. As a result, students have become artists, who are not able to understand their own art. Art professors who conduct class in studio are required to proceed with specific 'theories' as well as 'intellectual reflections'. In this respect, this thesis presents poiesis and an idea of 'acting out'. Although art history and aesthetic theory tend to view art as a finished product, actual art-making and related theories should not only be acknowledged as 'completion' (finition) but also be accompanied by theoretic interpretations of the act itself and process. Accordingly, it is to accept and appreciate art as finished result in view of current theory and aesthetics thus boils down to aisthesis. Likewise, poietics starts from a point where an artist is related to studio and examines the 'work process' that extends as far as to the exact end of work. Through the study of such relationship, it is possible that theory understands 'studio' and 'process', and an artist can grant an independent meaning to studio where s/he pours her/his heart out creating a work of art. Theory is a study on artistic discovery thus should be equipped with functions that can accommodate fortuity, imitation, thinking, culture, and surrounding.

• Journal of the Korean Institute of Educational Facilities
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• v.26 no.3
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• pp.3-13
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• 2019

Purpose: The human body is a chemical laboratory. Artists are exposed to a variety of chemicals in art studio space and the art materials used in the creation contain toxic ingredients, exposing them to a variety of incurable diseases, including cancer. It aims to analyze the problems of the studio space environment and the risks of art materials, which are fundamental causes of the outbreak of incurable diseases, and to derive the direction of specific practices that can reduce the occurrence of incurable diseases by artists. Method: The harmfulness of an artist's creative space is the cause of a disease outbreak, and two primary factors cause it. One is the environmental hazards caused by the use of tools, air pollution, and chemical hazards caused by art materials in the architectural space environment of the studio. Necessary measures are put forward to control disease outbreaks by identifying the status and cause of intractable diseases caused by studies. Result: The plan is urgent for the establishment of safety rules and regular pre-trainthese two factors and analyzing the results of prior research and implementation investigationing, the legal provisions of studio architecture design and the introduction of labelling rules to control the distribution of harmful art materials.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.83-88
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• 2024

This paper analyzes the historical significance and aesthetic meaning of the emergence of 'artists as theoreticians,' a major aspect of contemporary art criticism practice, focusing on the editorial project of the British monthly visual arts magazine Studio International. The sharing of writings about art through publications confirms the lens of critical perspectives on contemporary art and serves as an opportunity to reflect on broader political and cultural conditions. In particular, this paper can function as a resource for assessing the art historical horizons created by the connection between artists and publications, rather than theorists or critics, on the magazine platform. This paper focuses on the debates formed through Studio International in the late 1960s, examining the magazine's stance on new developments in art, the practice of defining critical terms that accompanied it, and the responses to them. The texts of 'artists as theoreticians' such as Victor Burgin and Joseph Kosuth, published in Studio International, overcame the conventionality of art that relies on formal aspects, and argued that the concept of art as something named by the artist is possible as art that does not require the mediation of objects. The discourse practices of these artists became an important factor in destroying the authority of the historicist critical paradigm, thereby acquiring the art historical value of artists who took the position of theoreticians dealing with art.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.221-226
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• 2023

Can art really change the way people understand and interact with nature in order to reduce the possibility that ecological disasters will continue to expand due to failure to correct human actions that damage the global environment? What is the artistic methodology to realize environmental justice and sustainability of life on Earth? This paper seeks to find answers to these questions. Finding ways to look at, feel, understand, and act for the global environment, that is, the process of considering the way of orientation toward the global environment will lead to critical thinking of the history in which human centered behaviors treated nature as a resource for exploitation rather than a source of life. Therefore, this paper pays attention to the ecological art of The Harrison Studio, which is called the 'pioneer of the environmental art movement'. In the main body, The Harrison Studio's major projects are analyzed to find ecological implications and aesthetic strategies. In particular, their dialogical methodologies are demonstrated in detail. To this end, the significance of various collaborative practices of The Harrison Studio is explained. The Harrison Studio contributed to expanding the scope of practical experience and understanding of the value of eological art. They have the power to look back on the direction of ecological consciousness by constantly producing mutually connected and overlapping epistemic dimensions without being limited to any uniform rules of exchange.

• Cartoon and Animation Studies
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• s.36
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• pp.167-187
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• 2014

Animation-related films and game industries have been expanding their markets rapidly responding to sharply increasing public demand. The production processes of major studios are getting more and more specialized and detailed. Therefore, they feel burden to manage and maintain as the HR and physical sizes are getting greater. So, independent studios which perform partial processes of the works are increasing over North America and Europe. Specialized studios build previous functions and related business models. They are expanding their areas. Therefore, this study targeted studios specialized in digital concept art in free production step. The characteristics of such studios were analyzed. To this end, first definitions of digital concept art concepts and functional & artistic features of entire production, and their application to business were deliberated through documents and online. Based on the results, the features of 'concept art service', 'self-brand business/ communication', and 'education service' were drawn. Second, based on it, targeting three con cept art studios such as Atomhawk (UK), FengZhu Design (Singapore), and Studio Gage (Korea), case research was done. Comparative analysis for the cases was conducted. It turned out that concept art studio s lead new market demand through active business strategies such as related contents development, marketing, etc. based on specialization. This research is significant to understand global trend of newly establishing specialized studios market and suggest reference data to improve prospective domestic specialized studios competitiveness.

• Journal of the Korea Furniture Society
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• v.19 no.4
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• pp.243-251
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• 2008

This study explored the theoretical context of postmodern aesthetics in experiencing art/craft/handmade/studio furniture for 'wood culture experience class' or 'wood love experience class', which has been recently carried out by the Korea Forest Service and is apt to focus on making simple wood work just involved in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. I developed the lesson for an aesthetics of art and everyday life with wood furniture which expresses the metaphorical aesthetics appeared as New Design furniture in postmodernism. As statement of objective in the lesson, I explored that students in elementary schools personally understand and define the postmodern aesthetics of New Design furniture as metaphor. As a result, the students will be able to define and identify New Design furniture as metaphor in their lives.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2014.10a
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• pp.125-127
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• 2014

Major Japan animation production house, Studio Ghibli has produced many masterwork animations and achieved commercial and artistic success. Therefore they has surpassed regional Japan, became the world major animation company and acquired grate fame. But Hayao Miyazaki who is the leader of the Studio Ghibli has failed making a his heir. To make matter worse his retirement is approaching, rumors that break up the studio Ghibli has been spread in recent time. Finally, In a general meeting of stockholders of studio Ghibli, June 2014, they announced that split up the animationmaking team. That means studio Ghibli changed their animation producing process, not disband a studio Ghibli. This paper will analyze reasons why did they have to change their animation producing process.

• Korean Association of Arts Management
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• no.56
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• pp.275-304
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• 2020

This paper discusses a way to differentiate contents and enhance the competitiveness of art spaces in rural regions through place assets, noting the growing number of rural art spaces and their great potential as cultural spaces in recent years. First, we surveyed existing research and resources to understand the current status and roles of rural art spaces in the context of theoretical discussions on place assets. Based on this, we classified place assets into physical, human, and symbolic elements. After that, we conducted two case studies that apply this classification. For the case studies on the Ami Art Museum and the Potato Flower Studio, we investigated the sites and conducted in-depth interviews with the directors following a qualitative research method. Our findings through the case studies show that Ami Art Museum and Potato Flower Studio remodeled closed school buildings, which are known as physical place assets in rural areas. However, there was a difference in utilizing other place asset elements, and this resulted in different types of differentiated contents. We found three types of rural art spaces from two case studies: inhabitant-friendly, artist-friendly, and tourist-friendly. Finally, in our research, we presented a method of utilizing place assets that differentiate rural art places along with a method for developing differentiated contents. To conclude, the significance of our study is that it attempted to find out a way to make rural art spaces sustainable, and sought cultural regeneration in rural areas through revitalization of rural art spaces.

• Korean Architects
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• s.599
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• pp.64-69
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• 2019

• Journal of the Korea Furniture Society
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• v.20 no.3
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• pp.205-212
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• 2009

Through this study, I explored a creation of the postmodern furniture aesthetics through the transformation by student's interpretation in experiencing the art/craft/handmade/studio furniture aesthetics in postmodernism theoretically for 'wood culture experience class' or 'wood love experience class' by the Korea Forest Service because the class tends to focus on making simple wood works involved just in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. Following the lesson one on defining the postmodern aesthetics in New Design furniture as metaphor and the lesson two on interpreting an aesthetics of art and everyday life with the wood furniture which expresses the metaphorical and symbolical aesthetics appeared as New Design furniture in postmodernism in the previous papers, I developed lesson three on creating an object using eco-friendly materials like wood in transforming an aesthetics of postmodern furniture as the final stage of the study. Therefore, the students will be able to create a piece of eco-friendly wood furniture for our environment as metaphor transformed by his/her perspective regarding a piece of selected New Design furniture.