• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.11
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• pp.6472-6477
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• 2014

This study examined the trends of an illustration artist's art marketing widening its area in recent years and proposes a design concept of color cosmetics. Art marketing is a type of culture marketing and means marketing through exhibitions, performances and other artistic activities. Free artistic sensibility expression in which the artistic motif is melted into a product beyond the works of a particular artist, and the product, in turn, can be reflected in the canvas, has attracted attention. The works of illustrators are widening their area into the item in life not canvas. This paper proposes the color cosmetics design that reflect art marketing. The main target who proposed the design concept was trend-oriented and in their early to mid-20s with a strong personality, showing a strong tendency of attracting attention and being recognized. To emphasize the design concept of color cosmetics packaging design, the progressive image of the target class was reflected through brilliant and intense color combination. The cultural value and meaning are provided as the artistic mood becomes a part of life.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.5
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• pp.3203-3212
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• 2014

Company. s support for culture and arts started from mecenat activities. After then, it played a role as a tool of the company to satisfy consumers. cultural desires and improve the company. s image. As time goes by, it became a culture marketing which encourages business activities. Therefore, many companies try to develop their culture marketing activities in various fields. Especially art marketing has increased consumers. expectation and interest about art activities. Also, art marketing has become important as it has helped consumers to have critical view about products and improve their standard of life. As a way of art marketing, a company provides diverse exhibitions, sponsors and education programs related to art in either a specific space of the company building or a separate place. It can be said that this example of art marketing is a kind of an image marketing and public welfare at the same time. This article presents the concept of culture marketing and current condition of company. s support for culture and arts. In addition, the article depicts the concept and classification of art marketing. Furthermore, through analysis of company exhibition space and programs, the article illustrates the features and typology of art galleries managed by companies.

• The Journal of Art Theory & Practice
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• no.5
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• pp.25-41
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• 2007

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."

• Journal of Korean Institute of Industrial Engineers
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• v.24 no.2
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• pp.223-240
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• 1998

The purpose of this paper is to develop the pattern recognition system with a 'Robust' concept to be applicable to flexible manufacture automation in practice. The 'Robust' concept has four meanings as follows. First, pattern recognition is performed invariantly in case the object to be recognized is translated, scaled, and rotated. Second, it must have strong resistance against noise. Third, the completely learned system is adjusted flexibly regardless of new objects being added. Finally, it has to recognize objects fast. To develop the proposed system, contouring, spectral analysis and Fuzzy ART neural network are used in this study. Contouring and spectral analysis are used in preprocessing stage, and Fuzzy ART is used in object classification stage. Fuzzy ART is an unsupervised neural network for solving the stability-plasticity dilemma.

• Journal of the Korea Furniture Society
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• v.24 no.1
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• pp.1-14
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• 2013

Since the 1980s the development of American art furniture was embodied its concept by second-generation furniture artists affected and educated from the first generation that has implanted art furniture fundamental values. Besides, embracing inevitably needs of the new era going with the social change rather than dwell on the nature of mere handicraft era, it has evolved with economic revival in the United States, the attention and increased consumption of the public, and ongoing government-sponsored. And more recently, the American contemporary Art Furniture faces another change in the non-boundary phenomena between art and design. American art furniture since the 1980s are summarized as three major trends: Art furniture embellished with traditional hand-craft, Art furniture featured the individualistic avant-guard characteristic, Art furniture eroded the distinction between art and design. By analyzing focusing on the furniture artists and their works in contemporary art furniture deployment aspects since the 1980s, the purpose of this study can be utilized as a method to measure the forward direction, internationally competitive, creativity, and artistic value of the domestic art furniture.

• Journal of Fashion Business
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• v.22 no.1
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• pp.135-147
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• 2018

Since the 20th century, there has been a growing interest in the new concept of fractals, a combination of mathematics and art, and the attempt to study the creative spatial aspects of the concept is being made. The purpose of this research is to examine artistic characteristics of fractal dimension and then analyze the types of fractal dimensions expressed in the fashion. Previous literature on fractals and dimension, and visual data on art and fashion collected over the Internet were used for analysis. Fractal dimension refers to the spatial concept of structural dimension of geometrical self-similarity. An analysis of the types of fractals seen in fashion revealed spatial expansion, the repetition in continual figures, superposition accordant to different sizes, and shades of different shapes. The aesthetic characteristics of fractal dimension appearing in fashions were examined based on analyses of fractal dimension types; the inherent characteristics of self-similarity, superimposition, and atypicality were found. Results obtained from this study are expected to be used as basic materials for the application of the design of fractal dimension into various perspectives of fashion.

• The Journal of Art Theory & Practice
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• no.1
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• pp.71-92
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• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.80-85
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• 2024

The concept of single-modal digital art originated in the 20th century and has evolved through three key stages. Over time, digital art has transformed into multi-modal interaction, representing a new era in art forms. Based on multi-modal theory, this paper aims to explore the characteristics of interactive digital art in innovative art forms and its impact on user experience. Through an analysis of practical application of multi-modal interactive digital art, this study summarises the impact of creative models of digital art on the physical and mental aspects of user experience. In creating audio-visual-based art, multi-modal digital art should seamlessly incorporate sensory elements and leverage computer image processing technology. Focusing on user perception, emotional expression, and cultural communication, it strives to establish an immersive environment with user experience at its core. Future research, particularly with emerging technologies like Artificial Intelligence(AR) and Virtual Reality(VR), should not merely prioritize technology but aim for meaningful interaction. Through multi-modal interaction, digital art is poised to continually innovate, offering new possibilities and expanding the realm of interactive digital art.

• Archives of design research
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• v.3 no.1
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• pp.71-81
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• 1990

Style have been changing by the situations and the background of contemporary politics, society and economics, and which influence significantly to create new forms. Since the style of ART DECOC 1929s -1930s) has been studied with main reference to its cause and motivation, it is known that the style of ART DECO is one that has given $$\mu$h potential and chance to the development of interior design.In the study, it was focussed on to study on interior design, architecture, funiture, etc. in America where ART DECO had been once successful in his career. The following are the contents of the study implying the establishment of directions concerning styles in accordance with the transitional process of the era, etc.; i.e., the purpose of the study, the range + period of the study, contemporary backgrounds, elements of ART DECO' style, ART DECO in AmericaCthe background of ART DECO s subject, etc.).The writer of this study, while referring to the study and groping for any help to finding a brilliant concept of design and the merit of the trend of a contemporary era, hope to contribute more my own interior design.

• Journal of Arbitration Studies
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• v.28 no.3
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• pp.75-88
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• 2018

As the Korean economy continues to grow, the desire to own art increases. Despite a number of recent controversies surrounding the sale of counterfeit art pieces, the scale of the problem remains small. Nevertheless, there is a lack of relevant analysis and research. Given the increased interest in Korean arts and crafts and the growing awareness of counterfeit art, it is useful to study legal problems related to counterfeit art. The purpose of this review is to examine the concept and range of counterfeit artwork and explore corresponding legal problems and solutions.