• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.115-132
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• 2021

The purpose of this study was to suggest multiple directions of fashion design by producing differentiated athleisure fashion designs with functional materials based on existing sportswear. A design utilizing handcraft skill was developed by applying the design characteristics of Laszlo Moholy-Nagy's paintings. With respect to the study methods, the background of Laszlo Moholy-Nagy's paintings were analyzed and their historical background was investigated by employing previous studies and literature review. The design characteristics were classified by issue and time-period. The results are as follows; First, the feasibility of creative artwork expression was found by pursuing collaboration with artwork and fashion by applying the motives of the fashion with the characteristics by the times, lines, forms, colors, and overlapping in Moholy-Nagy's paintings. Second, athleisure fashion, which can mix-match with casual wear, was found to enhance not only creativity but also add value by applying design, which added multiple handcraft elements, as well as characteristics of functionality, aesthetics, practicality, appealability, ostentation, activity, and dynamism. Third, potential harmony was found with achromatic and chromatic colors that can express more dynamic and active images. Based on the study results, further studies are anticipated using multiple paintings.

• The Journal of Industrial Distribution & Business
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• v.14 no.5
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• pp.11-18
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• 2023

Purpose: The current research based on the comprehensive literature evaluation aims to gain insight into the factors contributing to an Oriental art gallery's success and the strategies used to advertise and sell these works effectively. Understanding and experience in Oriental art are essential for finding solutions to these issues. Research design, data and methodology: The current research conducted the following stages to conduct a thorough literature analysis on the issues that plague Oriental art gallery practitioners and the methods used to increase sales of this kind of art: Finding Valuable Resources and Subjects, Screening and Selection of Articles, Data Extraction and Analysis, Synthesis of Findings. Results: After reviewing the many aspects that affect the success of a gallery specializing in Oriental art, there were four key approaches that have emerged for boosting sales of this kind of artwork. Based on the findings, these approaches are grounded in four areas: consumer preferences; marketing methods; pricing strategies; and art investments. Conclusions: All in all, the current study finally indicates that practitioners should consider cultural background, age, gender, income, and level of education when developing marketing strategies and selecting artwork to exhibit. Target marketing is an effective method for attracting and retaining customers.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.510-519
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• 2017

Our world is communicating by digital network that transcends time and space. In such world of rich technology, people are longing for humanity and analog esthetic. 'Art' stimulates analog esthetic and 'design' is a good and easy tool to show personal esthetic preferences. This study is about the convergence of digital and analog art focusing on the researcher's artwork series. The series is derived from series. They are made by cut and deconstructed pieces from the original series. I assembled these pieces into another creation by using graphic editing programs. I looked into the succession cases of art and design collaborations and developed various design products with the assembled artwork images. Through this, I want to communicate more familiarly with the world widely connected to network viewers. There are already many fine artists making their artworks into design products. Collaboration with cultural art and commercial product provides win-win effect to artist, company, and consumer. It also creates innovative products and values. In this study, I try to design products from various fields using my artwork images, and research about how to promote the artist and art products effectively to the world.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.600-611
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• 2016

This study examined the impacts of types of titles of artworks, especially 'untitled', on audience reponse. Generally, naming can be a tool to represent characteristics of objects, affecting their market value and price. Since contemporary artworks are often untitled, this study aimed to investigate how naming 'untitled' would affect audience response. As the size of arts market increasing, how the audience, potential buyer of artworks, responds to artworks is important. Based on prior research, we hypothesized that the audience would have different level of understanding, attention, attractiveness and curiosity to untitled artworks, controlling other factors. In the regression results from the data of 305 respondents, we found that people had significantly lower level of understanding and attention on untitled artworks than on artworks of explanatory or associative titles. In addition, respondents showed significantly higher level of curiosity when the artwork was an painting. This study confirmed the assertions of prior research that titles are indeed important, and further implied that artwork creators should be more concerned on naming their artworks since titles as well as artworks themselves could actually affect audience response.

• Science of Emotion and Sensibility
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• v.8 no.4
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• pp.423-433
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• 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 Korean Philosophical Society
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• v.145
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• pp.143-165
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• 2018

This paper aims to describe the past character of art through Gadamer's interpretation of "End of the Art" thesis of Hegel. His interpretation also reveals that new art can demand a validity as a way of self-understanding that the art understands itself from its past. Hegel declared the end of art in his philosophical system. From Gadamer's perspective, it means that art has past character in the horizon of modern christianity-humanistic self-evidence (II). Then art understands itself as the past and demands its own validity. Gadamer sees that art cannot require common self-evidence which is clearly and universally understood by all in an age of "the end of self-evidence." And according to him, this requirement shows up in the phenomenon of anti-art in post-modernism(III). From his standpoint it is about time to demand new validity of art again and this requirement could be complied through hermeneutical self-understanding. Art exists as a self-understanding artwork in the cycle of understanding in which art understands itself as an understood past. As a play is played by players, artwork exists as participating spectators. This artwork does not demand a common understanding but exists through various understandings of spectators(IV).

• Review of Culture and Economy
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• v.21 no.1
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• pp.85-104
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• 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 Forestry Energy Research Society Conference
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• 2011.02a
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• pp.112-115
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• 2011

• Journal of the Korea Convergence Society
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• v.11 no.8
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• pp.287-296
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• 2020

The purpose of this study is to explore the differences in aesthetic experience according to the level of audience participation. Flow experience and aesthetic distance were utilized as proxies for aesthetic experience. A total of 70 undergraduates participated in the experiments of this study. In terms of flow experience, active participation groups were found to have relatively greater flow experiences compared to contemplation groups and passive participation groups. However, there was no difference in flow experience between the contemplation groups and the passive participation groups. In light of aesthetic distance, which means psychological distance, people in active participation groups were found to have a closer psychological distance from artwork than those in contemplation groups and passive participation groups. Also, those who belonged to the passive participation group showed a closer psychological distance than the contemplation group. The results of this study provide artists and art organizations with implications for enhancing audience attraction as well as the completeness of artwork.

• Journal of Fashion Business
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• v.22 no.4
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• pp.20-29
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• 2018

Today, visitors of art galleries like to share their life in their communities than interacting with artwork. Meantime, image sharing of an exhibition on social media has become more important than actual watching of the artwork. Accordingly, most of the galleries have started paying more attention in organizing an exhibition environment for proof-shots to attract more visitors. We initially conducted research about the internet environment from the late 1990s to the recent years and analyzed the changing watching patterns of the exhibition since the advent of social media. Secondly, for empirical case analysis, we selected 'Plastic Fantastic' held in D-Museum as the target of analysis. The analysis targeted 500 recent postings that were discovered on Instagram on March 4, 2018, as 'Plastic-Fantastic'(in Korean). The methods of analysis included classification types of image, hashtag, and text on Instagram and were arranged in an order of relation to the exhibits. Based on the image analysis, 44.2% of the images involved exhibition displays; the others included a person or other goods. Based on the results of the text and hashtag analysis, only 3.6% of posting included information about the exhibition and 56.4% had non-related inflow hashtags only with image. The behavior of these shares is likely to gradually lose the inherent meaning of the exhibition and to the value rather than imparting the artistic thrill that viewers derive from art. Exhibition should try to seek deep interaction between the display, audience, and social media users, rather than encouraging the visitors to take proof-shots.