• 미술이론과 현장
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• 제10호
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• pp.47-61
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• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.

• 한국의류산업학회지
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• 제24권5호
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• pp.530-544
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• 2022

Based on a follow-up study on critical fashion's strategies for object appropriation, this study aims to understand the appropriation of art as a social or cultural phenomenon influencing modern fashion, as well as to analyze and comprehend how to specifically approach the appropriation of critical fashion's letters through the appropriated interpretation. To explain the theoretical background of critical fashion's appropriated interpretation, it examined the related literature and data. Moreover, a fashion book-based literature review and a case study were conducted using sources, such as exhibition books, exhibited works, news, fashion magazines, and fashion sites, to examine letter appropriation strategies. In the critical fashion, the appropriation of subversive letters subverts meanings by providing experiences different from those based on real images of letters, which are displaceable. The appropriation of such subversive letters to challenge the value of modernism aims to subvert social value by bringing and relocating existing objects while focusing on their external forms. The appropriation of referential letters focuses on delineating the distance between the subjects who quote something and the quoted something and reprograms the existing letter objects with an introspective and reflective attitude. In other words, critical fashion designers can effectively express their messages through the appropriation of letters, such as graffiti and typography, which are manifestations of challenge or resistance. Appropriating letters as a creative action pursues unmarginalized humans who possess their existence.

• 미술이론과 현장
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• 제14호
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• 대한건축학회논문집:계획계
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• 제34권6호
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• pp.39-46
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• 2018

This research scrutinizes the concept of 'Juchegeonchuk' (self-reliance ideology in architecture), which is a key concept to understand the architecture and urbanism of North Korea in the 1970's and 80's. In the 1970's and 80's, Kim Jong-il began to appear in politics in earnest after Kim Il-sung appointed Kim Jong-il as Kim Il-sung's successor to the next generation. There have been many previous studies about 'Juchesasang' (self-reliance ideology) in various fields, except in architecture. On the other hand, the in-depth research into Juchegeonchuk, which was a method to strengthen Juchesasang, was not good enough in architecture. In this sense, this research investigates the concept of Juchegeonchuk based on the Geonchugyesullon (The Art of Architecture), which embodied the thought of architecture and culture of Kim Jong-il published in 1992. This research scrutinizes the idea of Juchegeonchuk on The Art of Architecture, and its representation in architecture and urbanism in Pyeongyang based on the idea of Juchegeonchuk. It enables to find a new interpretation of North Korea's architecture introduced by Kim, Jong-il in the late 20th century.

• 유통과학연구
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• 제11권11호
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• pp.19-32
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• 2013

Purpose - This study examines the effects of art marketing management of the marketing mix in fashion, focusing on the cases of the leading global fashion brands in art marketing management. Research Design, Data, and Methodology - This study was implemented using the content analysis method. Criteria, including product differentiation, promotion strategies, store strategies, and social contributions, were based on previous research, brand promotional references, and critical reviews in newspapers or professional magazines for various cases of art marketing management by fashion brands. Results - To achieve product differentiation, art marketing management has borrowed images from artworks, and employed parodies and collaboration with artists; this has facilitated the pleasure derived from utilizing the artistic value of products. Promotion strategies were integrated with art performances, advertisements, and runway shows. Store strategies developed emotional feelings and a longing for brands among consumers. Reputational marketing of the social contributions made by corporations elevated the corporate brand image perceived by consumers. Conclusions - This study's findings revealed that consumers can derive emotional satisfaction through art marketing that seeks to profit effectively by stimulating consumers' emotions. From an economic perspective, a convergence of art and marketing plays an important role in profit-making and satisfying consumers' emotions.

• 트랜스-
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• 제2권
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• pp.59-73
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• 2017

국내 문화와 예술 지원정책에서 융합이 중요한 안건으로 상정되고, 기술이 문화산업에 있어서 중요한 경쟁적 요소가 될 수 있다는 것에 주목한 것은 1990년대 중반 이후부터였다. 현 정부는 문화기술 정책을 문화정부의 핵심영역으로 설정하고 연계를 확장해 나갈 수 있는 지원 사업을 지속적으로 확대하고 있다. 문화와 예술 분야의 융복합은 개념의 등장 이래 지속적으로 화제가 되었고 다양한 정책적 지원이 확장되었지만 여전히 산적한 문제와 해결해야 하는 논의들을 가지고 있다. 본 논문에서는 국내외 문화예술 융복합 지원정책의 현황을 정리하고, 경향 및 사례들을 살펴본 후 향후 정책 및 지원 사업의 개발을 위한 제언에 대해 논의하고자 한다.

• 미술이론과 현장
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• 제2호
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• pp.147-168
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• 2004

This study examined the role of interpretation with various practices in art museums to seek a new meaning and a concept of art museum today. The exploration of interpretation would he a starting point to discuss about on art museums with professionals in each art-related field. While museums recognize the concept of interpretation and the scope of the functions in different levels, the study focused on the practices of collecting and exhibiting that will entrust the museum new realms of activities toward the audience. In particular, its emphases are set force on the information on the collections via the museum's web sites, interpretation policies, and theories and methodologies in exhibition development. Art museum websites well reflect how museums utilize the new medium to enhance the understanding of art works by providing in-depth art historical information, comprehensive contexts, and subject/concept based search methods. In recent decades, these have enacted changes to expand dimensions of interpretive functions in most museums, particularly in the United States and others. In an administrative perspective, Tate Gallery Interpretation Policy became an good example how an art museum put its interpretation philosophy as the basis of interpreting collection and public programs. Tate established functions of intrepretation and education not only within a task-based team but also as an intrer-divisional coorperation to provide an interpretation scheme of information provisions such as guide brochure, audio tour, multimedia content, and library. New environment and trends of museum exhibition, and its development processes stem from communication theories, object interpretation philosophy, display strategies, and various evaluation techniques through audiences, with the communication theories of Shannon and Weaver, Berlo's SMCR(Source-Message-Channel-Receiver) models were perceived as to understand the mechanism to communicate museum exhibits to visitors Suzan vogel's insight into object display strategy helped to conceive the mechanism of object recontextualization. She emphasized that the museum's practice to construe opinions and impressions through object display should be discreet and critical, therefore, the professionals to plan the exhibition should reveal the intention and their practices. For a prevailing new methodology from the field, the interpretive exhibition development processes are articulated as the front-end, formative, and summative evaluation, futhermore the team process in industrial product management models was adapted. These have turned out to be more interactive with visitors and effective to communicate the exhibition concepts and messages, hence resulting in enriched museum experiences. Finally the study concluded that understanding the aspects of interpretation should help art museums to set a framework for current practices to expand its public dimension. It can provide curators with a critical view to website planning and its content. And obviously, the interpretive exhibition development methodology will lead museum exhibition developers to be skilled in its current approaches to thematic exhibition concerning diverse subjects and topics.

• Journal of Construction Engineering and Project Management
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• 제6권2호
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• pp.8-15
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• 2016

Cost planning practices in the construction industry worldwide has gained much popularity in recent times due to economic recession and stringent measures that various procurement laws prescribe in most developed and developing countries. Nevertheless, these practices in developing countries such as Ghana are constrained with the existence of critical barriers that render them non-effective and hence, accounting for the numerous abandonment of both private and public projects. Consequently, this study was enunciated with the aim to examine the critical barriers to the practice of effective cost planning in the Ghanaian construction industry. Through an in-depth literature review and a pilot survey, questionnaires were designed and administered to quantity surveyors. Data generated from the field survey was subjected to principal component analysis. The findings of the study revealed weak cost planning knowledge base, poor cost databases and understanding, inadequate designs and planning and external conditions are the major barriers to cost planning practices in the Ghanaian construction industry. The need for this study cannot be doubted since it provides an insight for experts in the construction industry on the barriers of the practice of cost planning in the industry. The awareness of these barriers will therefore facilitate efficient and effective efforts to resolve them. A future study is thereby proposed by this study to explore effective cost planning practices in the Ghanaian construction industry that will ensure private and public stakeholders get value for their money invested.

• 미술이론과 현장
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• 제3호
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• 미술이론과 현장
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• 제7호
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.