• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.5
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• pp.821-834
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• 1997

The purpose of this study is to clarify the different types of cooperation between the textile industries and the artists at the beginning of the 20th century in relation to the social background which motivated the artists. Therefore, this study tries to analyse the interactions between the cooperation and the movement of social reform of the period and describe the various phase of artistic expression as a result of artists' view point of the society. The results are as follows; 1. There are two different standpoints toward the cooperation. The one conceives the different role of artists in relation to society and the other tries to enlarge the field of expression as an artistic challenge. 2. The different standpoint engenders significant diversity in its development, result and decline. 3. The raise of new artist group "designer" who reconciles the art and the industry as vocation diminishes the need of direct participations of artists. 4. The spirit of the time has changed and emphasised more the conceptual part of the art than the properties of matter. It provides less favorable condition for the cooperation. The cooperation between the art and the industry is a significant resource of the textile and clothing design. The interaction is not limited to visual effect but partakes in the solutions of the common artistic or social problems. problems.

• Korean Institute of Interior Design Journal
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• v.15 no.3 s.56
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• pp.40-47
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• 2006

This study examined concepts and expressional relations with Rene Maggritte works that had influence upon design expressions of Shiro Kuramata who brought name of things to the extreme to give new values and functions at the end. Rene Maggritte who was a representative surrealism painter in Belgium had a lot of influence and inspiration on the art world including pop art and conceptual art in the middle of the 20th century and so many modern artists. Rene Maggritte unreasonably placed object of ordinary things that people could know to combine them and to make people's thought be free from ideas. Shiro Kuramata worked at wide areas including the space, lighting, furniture and products to be well known as a designer who could create concepts. Shiro Kuramata designed indoor space and furniture not by making forms but by being free from customary names and concepts of things to examine substance and to discover unlimited possibility and to create new visual functions. And, such a thing made people be free from names and concepts that they cognized for a long time, and it brought freedom to things. This study investigated correlations of work concepts and expressions of Rene Maggritte and Shiro Kuramata to bring new inspiration and expansion to people's thought methods and design methodology regarding concepts of things.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.1-18
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• 2021

The purpose of this study is to analyze and understand the approach of critical fashion by comprehending the appropriation of art as a sociocultural phenomenon that influences contemporary fashion. This study inquired into the relevant literature to explain the theoretical background behind critical fashion, and conducted a case study using exhibition catalogues, exhibition works, articles, fashion magazines, and fashion-related websites in order to examine cases of appropriation strategies. As a subversion of meaning by using an existing transposable object image to deliver an experience unlike the actual image, subversive appropriation in critical fashion takes existing things as they are and rearranges them with the purpose of subverting social values while having its subversive style of appropriation. Referring to a style that focuses on labelling the distance between the subject, that refers and that which is referred to, referential appropriation has been reprogramming existing things with an internal and introspective attitudes. In other words, from an exploitative style of appropriation aimed at expanding the meaning with found in objects by avant-garde fashion designers, to a subversive style of appropriation aimed at subverting meanings with transposable objects by conceptual fashion designers, there has been a change toward the referential style of appropriation aimed at expanding artistic forms with created objects critical fashion designers.

• Cartoon and Animation Studies
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• s.33
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• pp.343-361
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• 2013

This paper derives the mutual relationship between film and installation art through specific case studies about the point of the intersection of the two genres. It needs to find the relationship between art painting and photography and the relationship of silent film and the relevance of the work of art in the 1920s. After painting over the installation exploring the relationship of art and through the mise en scene of the film, ie, the screen image of the configuration and deployment, or cinematic work of art for the film can be found in the application of practices. First, in Chapter 2, this study works of art practices through the analysis of film and the interaction between the two genres based practices for secure sex. In Chapter 3 the movie 'Wonderful Life' and installation art work "hand memory" through the analysis of the two cases specifically for the point of intersection analysis. 'Wonderful Life' and 'hand' Remember each subject and conceptual work in terms of 'memory' that it is represented on similar, but, film and installation art genre caused by the difference in the way the media represented by the results of the different forms of otherwise appear. If so, this study film and installation art practices through the comparison of cases to derive mutual relationship by analyzing two cases in detail what each of the different looks at whether any similarity in that.

• The Journal of Art Theory & Practice
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• no.1
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• pp.49-70
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• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• Journal of Gifted/Talented Education
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• v.22 no.3
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• pp.639-662
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• 2012

The purpose of this study is to develop the evaluation model of gifted curriculum in visual art. For this purpose, first, it discusses about what kinds of issues raised about gifted education in visual art. Second, it critically reviews the evaluation models of gifted curriculum, and investigates the suitable model for developing curriculum evaluation model of gifted in visual art. Third, it suggests the appropriate perspective and evaluation model of gifted curriculum in visual art. Along with the change in the concept of creativity, recent studies on gifted education in visual art concentrate that gifted learners who have the potential find their own way of creating art. Also they emphasize the contextual implementation which recognizes the significance of interaction among field, domain and individual. Based of these inquiry, existing evaluation models of gifted curriculum have limitations in suitability as a evaluation model of gifted curriculum in visual art. This study suggests that the curriculum evaluation of visual art gifted programs should be approached from the decision-making perspective. Also it develops the conceptual framework and the evaluation model of gifted curriculum in visual art based on the CIPP model, which is the representative model of decision-making approach. It concludes with its implications and the discussion about the role of evaluators.

• Journal of Digital Contents Society
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• v.11 no.4
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• pp.503-511
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• 2010

While various artistic trends coexisting in the 20th century, media arts that formed with the medium of a material attempts in various ways to induce the establishment of the artwork through the public communication. The visual arts that use the media satisfy both the artistry and the popularity in the area of popular culture as the form of variable. Moreover, visual arts stimulate a playful sense of human to maximize the public satisfaction that works here. This paper aims to discuss the potentials and the trends in the contemporary art by understanding the conceptual and principle background of the contemporary media art which shows the active employment the playful sense of human nature in the work in order to establish the effective communication with the public. Consequently, as the digital environment and advanced network technology which were thought to be the key elements of the popularization of media art were reached its limit, media artist, Tony oursler's artwork which was created based on human playful nature and interactive artwork that supports the audience to interact with artwork and its space are proven to be the useful devises for the public communication.

• (The) Research of the performance art and culture
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• no.35
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• pp.373-404
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• 2017

As an art, Korean dance is a history, a tradition, and a continuing activity of consciousness. It is a present and future activity in the past that will continue the identity of Korean people. So storytelling is not just a description of the historical background, but of eternity that is being recreated. From this study, the inquiry of artistic beauty of Korean traditional dance is questioning the original essence and value of 'storytelling' through old tradition and historical art. If the study of the Korean dance among them was a study of the theorists for the aesthetic essence or the ideological system, the point of view of the storytelling of the Korean dance is that the public understanding about the core structure and reason of Korean dance and the study of the humanistic value It reminded me of a desperate attitude. The meaning of this study is to verify the usefulness of storytelling as a way to construct various contents of Korean dance in conceptual definition of storytelling. In the symbolic meaning of Korean dance, Cheoyongmu text formed the deep meaning network of the original art beyond the linguistic narrative structure and suggested the importance of storytelling development as DB of original contents.

• Journal of Science of Art and Design
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• v.8
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• pp.211-239
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• 2005

The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.

• Journal of the Korean Society for Library and Information Science
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• v.48 no.4
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• pp.297-322
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• 2014

The purpose of this study is to analyse the meaning and lexical morpheme of author keywords of humanities, social sciences, and art and sport in the Korea Ciation Index (KCI) and to propose a conceptual taxonomy of the author keywords. Four top-level concept categories such as 'Substance, Abstraction, General/Common, and Object' are replaced by seven more concrete categories such as 'object, action/function, property, theory/method, format/framework, general/common, and Instance'. In the middle and lower-level concept categories, the hierarchical structure is simplified and the unbalance of term distribution is reduced by creating, subdivision, integration, elimination, and movement of the categories. The result of the test based on the STNet shows that the replaced taxonomy of concept categories has the effects of making the term allocation more balanced and properties of terms more detailed.