• Journal of Science of Art and Design
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• v.1
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• pp.11-62
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• 1999

The paper aims to survey some features in the 20th century's semantic analyses of the pictorial representation as a paradigm concept. Here the most typical pattern of paradigms to approach it were thought that one is Referential Semantics which begins with Wittgenstein's Picture Theory, the other, Ontological Semantics concerned with .Langer's Symbol Theory. In the light of paradigm theory, some results acquired are as follows. First, the two paradigms are recognized as those of a mutually different philosophical background. So as far as the researcher is concerned, their arguments are contradictory each other. Second, it must be emphasized that each of them all have a possible aspect of necessary and sufficient requirements. to interpret and analyze the meaning of artistic representation. In result, the Referential and Ontological Semantics can work with a complementary partnership. In short, the referential meaning constructs a infrastructure of the picture, whereas the ontological meaning does it's infrastructure.

• Journal of Fashion Business
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• v.26 no.6
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• pp.94-104
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• 2022

The purpose of this study is to analyze the art world's perspective on popular art and the contact point with pure art and to present the requirements of fashion as a popular art. To analyze the artistic value of fashion, this study analyzed and presented the requirements of art by linking the innate characteristics of fashion premised on mass consumption of popular art. The research method consisted of content analysis focusing on books and papers on art and fashion. A critical perspective on expansion of the artistic field amid the blurred boundaries of art is the basis of a critical comparison between popular art and avant-garde art and a critique of popular art as opposed to value-oriented art. Conversely, as a point of contact with popular art with fine art, art is discussed against the ideological strategy of fine art and the shift in hegemony brought about by erosion of the barrier between art and everyday life. In addition, the non-essentialist perspective contradicts the division theory of popular art. The requirements of fashion as a popular art were analyzed based on the value of self-expression through the aesthetic pursuit of creativity and aesthetic expression, discourse as art, and expansion of modern art from the inessentialist perspective of popular art.

• The Journal of Art Theory & Practice
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• no.6
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• pp.147-163
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• 2008

The 1960s is a decade that is marked by new concepts of art making and art appreciation. Starting from Fluxus, the new art in the 1960s such as Happenings and performance art pursued the process of art making as an integral part of artistic experience. The traditional concept of art works that only appeal to vision soon became a site of contentious experiments and innovations in which the experience of seeing is accompanied by other sensual encounters of sound, smell, touch, and taste. These attempts can be seen as a revolutionary move to restore the sense of corporeality to the act of seeing that has been disembodied by the way in which western art has built the unifying, homeogenous field of vision. This paper delves into the works of Fluxus artists - Daniel Spoerri, Ben Vautier, Alison Knowles, Ay-O, and Takako Saito - who were central figures in taking art into the new age of post-ocularcentrism. Exploring the sense of smell, touch, and taste, these artists led the viewer to participate in their art making with the incorporated vision.

• Journal of the Korea Furniture Society
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• v.26 no.4
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• pp.291-300
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• 2015

The Netherlands' contemporary Art Furniture has drawn large attention from design and art fields all around the world because of Dutch designers' intriguing themes and experimental approaches. Its successful achievement not comes from certain policies or personalities, but the result of ceaseless internal criticisms and self examinations. After World War II, Modernism was the most common notion of furniture design for mass production in the Netherlands like other nations, but Dutch designers and critics put modernist canon up for discussion since 1960s. They have searched counter modernist design for expression of human element and warmth using art works, craft, and Postmodernism theory, etc. Throughout design debate of modernism, free design, design as art and conceptual design, now we could observe Dutch designer's unique and distinguished Art Furniture in the influential places. By analyzing the development of the Netherlands' contemporary Art Furniture in chronological sequences, we could understand them better and learn something useful to Art Furniture in South Korea.

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.56-64
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• 2007

This study is purposed to explicate the idea of 'the general design' for the construction of the construction of space of $L\'{a}szl\'{o}$ Moholy-Nagy who has stood against the traditional value system and made an attempt to create a new space-form language. On the basis of unification of perception and reality Moholy-Nagy intended to regenerate the essential aspects of life through an art by bestowing art with an aesthetic foundation and also expanding the art world into the living area. 'The Allgemeine Elementenlehre(the general theory of elements)' of Moholy-Nagy that is distanced from the visual perception as the dominant sense which is based on the principle of representation and imitation, and emphasized on the complicated relationship between the various senses including the tactile sense, offers a pedagogical basis for the space design that is indispensable for the plastic thinking and practice. At the same time it indicates an access route to the primary nature through the spatial construction of the prime elements of nature and man To explicate his idea toward the general theory of design of space, it will be tried first of all to clarify the core points of the empirio-criticism and the constructivism as the theoretical backgrounds of Moholy-Nagy. And then on the basis of these theoretical backgrounds will be analyzed the system and the contents of 'the allgemeine Elementenlehre' as the general space design theory and also the general space design pedagogy.

• 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.

• The Journal of Art Theory & Practice
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• no.10
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• pp.105-118
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• 2010

This study discusses the community of participants in new media-based art of Taeyoon Choi, Wafaa Bilal and Mushon Zer-Aviv in relation to current discourses on social functions of art by Nicolas Bourriaud and Jacques Ranciere. Focusing on these artists' participatory projects which aim to provide alternative perspectives on wars between countries, to raise awareness about expanding surveillance systems in city spaces, or to create new public spaces on the web, this paper argues that their works hybridize entertainment culture and political activism to suggest a new model for political art.

• International Journal of Advanced Culture Technology
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• v.10 no.2
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• pp.116-121
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• 2022

Digital technology has now pervaded and become an inseparable part of our daily life. The art museum sector is evolving into a business model that adapts to the new digital format due to the requirement for survival and development. This study examines the development state of China's art museum industry and investigates the current business model innovation trend in the art museum industry from three perspectives: reorganization and development of the art museum industry's business model theory; reconstruction of the art museum industry's display and marketing logic; and innovation of the art museum industry's operation mechanism, based on a systematic assessment of domestic and international research. This research can provide reference value for digital technology to drive the innovation of business model in art museum industry. Moreover, the study has important reference significance for the development strategy of art museum industry.

• The Journal of Art Theory & Practice
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• no.5
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• pp.135-174
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• 2007

• The Journal of Art Theory & Practice
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• no.9
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• pp.33-57
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• 2010

Focused on the performance of interactivity in the appreciation of media art, this study is associated with the continually changed art texts and a participator's physical reactions to savor the art. Digital works of art emphasizing interactivity usually decentralize and disperse the responsibility and the central role for creating and producing the art works. Proper procedure of the work is generated by actions such as clicking the mouse, controlling the joy stick or actual movement of anticipators' bodies. The art works are influenced by participators' interactivity, which makes the leading roles and the responsibility for creating art scattered and divided. These features are similar with those of the 'Rhizome' which Gilles Deleuze(1925~1995) and Felix Guattari(1930~1992) have discussed. In their argument, 'Rhizome' is an interval or being 'between', which keeps changing. 'Rhizome' is a state in which the individual and the work of art never reach the conclusion, only a phenomenon of eternally altering. Like 'Rhizome', this sort of art work has the decentralized system, opens for several directions, and activates the system which is changeable as linked items increased or decreased. These works stimulate the individual to perform and act while appreciating the art piece. In terms of processing and preceeding, interactivity is the important equipment and catalyzer. Through these procedures, the pieces can be the 'floating work of art' combined and condensed with the whole participators' reactions. The 'floating work of art' is neither the expression of an individual nor that of one particular group. Multidimensional influence of the web is the web which is constantly reorganizing and producing in its connective state. This connective state is activated by interactivity. The Rhizomatic system embodies the floating work of art process. Due to each individual perceiving art in individualistic terms, there is no dominating powers or central points. I regard this art works possessing above traits as the work of art with Rhizomatic system. The work of art with the Rhizomatic system is embodied through interactivity and because physical action activates the process of appreciation, a participator can actually experience and practice the philosophy. Ultimately the Rhizomatic speculation occurs during the interactivity of appreciating the Rhizomatic art pieces. The Rhizomatic system penetrates into the intuitive area beyond our recognition and thoughts, as we are engaged in the connective process. With the methods and manners of interactive art, we can possibly reconsider the system as a tool in which the participator is directly able to link experience and theory to the philosophies of Deleuze and Guattari.