• Journal of the Korean Society of Costume
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• v.40
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• pp.5-23
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• 1998

The main purpose of this study was intended to analyze the image of N대-Expressionism represented in the late of 20th century fashion design. By the late 1960s and the early 1970s. the prevailing notion of modernity, which had pushed the limits of art beyond previous boundaries, had begun to lose its urgency. Critics called the new pluralistic era which the West was entering Post-Modern. Furthermore, the predominance of America and the New York scene is diminishing, and artistic leadership is now international. Post-Modernism dialectcally made denial of Modernism as likely as New Image Painting and Decorative Pattern Painting Art in 1970's and it was availed as a dialectcal means for the pre-diction of new comings that would be appeared at painting art in 1980's. New Image Painting has been called as Neo-Expressionism. The N대-Expressionists selected human's feature because appeared flankly, directly irregular agitation in the visual effect and they believed human's destructive and amputate body was cruelty. So they express it on the surface canvas. Under the these background, the image of Neo-Expressionism was represented in the late of 20th century fashion design such as the upside-down image of human feature, the image as ameditation on German myth and history, culture, the ecletic image is made of use a mixture of material. The properties of composition, line, color, texture, and form, common to all plastic art, are now more readily recognized and historically valued in every work. That is, individuality, humanity, and the human condition have been at the core of most Western art and Fashion design. Especially Fashion design has been one of the principal instruments used to examine our nature and to promote the notion of growth, self-understanding, and change.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2003.05a
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• pp.160-165
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• 2003

Art of today is expressed in various images incorporated in industrial development and visible in industrial parks, modern cities. Avant garde art and modernism brought abstract and conceptual art into conflict in the early 20th century and they absorbed elements of each other and grew into post modernism, which emerged in the 1960s and is still current. The avant garde challenged what was lofty and sometimes opposed modernism and sometimes fed it in cycles until post modernism was established. 'Trans avant garde', which, unlike modernism asserted individual expression, also appeared in the 1970s. Trans avant garde is spiritual art in which the artist's conversation with his soul returns. This study examines the readjustments the trans avant garde is making in its relationship with the dominant ethos of different values and offers the world art with important spiritual beauty. Trans avant garde art takes many forms, from thing to huge, which are manifested every where in architecture, interior design and everyday life.

• Journal of the Korea Furniture Society
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• v.26 no.2
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• pp.130-137
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• 2015

In this study I made an analysis on the background of creating of Minimal Art and thought of its artists during 1950~1960 and their works. Starting from the early Modernism that tried to depict the life of farmers and laborers in the chaos of war and viewing the art as the tools describing the life itself, minimal art took its root as furniture in ordinary life passing through the era of Surrealism and Dadaism. In 20th century, furniture designers were trying to seek new trend of modern furniture in the perspective of balance and immaculateness while excluding emotion and overall feeling through minimalism. These efforts result in the introduction of immaculateness and refinement in furniture design. Hence, this study is to represent a new trend of furniture design utilizing the margin of furniture in complex lives through formative characteristics that minimal art beholds.

• Archives of design research
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• v.18 no.2 s.60
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• pp.325-334
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• 2005

The purpose of this thesis is to explore the fundamental reasons and general circumstances of the introduction of geometric shape to the 20th century's design education. The modern design education was directly influenced by the German Kindergarten Movement and its educational ideal, so they began to employ geometric shapes in visual education. When Friedrich Frobel, a professional German child educator of the 19th century, invented the 'Spielgaben,' it soon became a popular educational tool. It was a turning point in the child educational system, from then they began to actively employ 'tools' in art education. The Spielgaben was created based on the geometric principle of a popular block game of the 19th century. On the other hand, a game program called 'Bechaftigungsmaterial' led early Modernists to adopt geometric shape in their works. Then, geometric shape were applied to a primary educational program designed by the Bauhaus that gave birth to the Modern design education in the 20th century. likewise, the substantial reasons why the principles of point/line/plain and geometric shapes had been taken in the 20th century design education can be explained through this historical background. This research is to investigate how Kindergarten Movement and Modern design education can be associated with each other, particularly in the light of geometric elements. Therefore, I first referred to the historic records in order to reveal their relation, and then analyzed the similarities and differences between the two activities. In result, I could explore the relationship between child educational tools and the 20th century's design education.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.24-37
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• 2011

This study aims to figure out any possible expanded expression methods and diverse formative effects in fashion design by recognizing the importance of objects that suggest new paradigms as a means of expressing aesthetic consciousness in contemporary fashion and analogizing the formative characteristics of objects used in fashion and their significance. Accordingly, the study focuses on analyzing and interpreting objects introduced to fashion design with a formative view by substituting the concept of an object that has taken an important position in the contemporary arts for fashion. This study further aims to examine the concept of objects by trend and their characteristics within a syntactical structure and come up with a standard for classification of objects and a framework of analysis from cubism in the early 20th century when the concept of an object began to appear in arts to Dadaism, Surrealism, Pop art, Land art, Environmental art and the present time. Finally, the study aims to examine the status of objects in fashion and the relationships between fashion and objects through analyses on fashion objects and to suggest new perspectives and approaches to interpret the contemporary fashion in the 21st century.

• Journal of Science of Art and Design
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• v.5
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• pp.35-66
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• 2003

This article dealt with the formation and dissolution of tautological structure in the Frank Stella's work from 1959 to 1980 years by the analysis of signifier. A characteristic of Stella's work change is that it has the gradual progress which condensed into three periods -1) the formation and fixation period of tautological structure 2) the relaxation period of tautological structure and 3) the dissolution period of tautological structure. In other words, the early works of stella in the early 1960s has the structure which minimize differences in one hand, and maximize strictness, clearness, and identity on the other hand However, the stella's work from mid 1960s to mid 1970s extend differences gradually, while keeping a characteristic of prior work. And the stella's work after late 1970s has the decentered disintegration, namely anti-tautological structure which maximize differences. 'The formation and dissolution of tautological structure' in the Stella's work could be understood in relation to the fact that the Greenberg's modernist canon has loss the power gradually after late 1960s. That is to say, the dissolution of tautological structure in the late stella's work could be interpreted as the inevitable product which is produced in the searching for a new canon of painting. However, on the other hand, the structural change of stella's work in the late 20th Century is also understood in relation to the broader context, the social, and cultural context. Here, it is interpreted as the one of typical example which reflect a social and cultural convulsion designated as a 'Coming of Postmodernism'. In short, the late Stella's work which emphasize differences and unclearness, while diverging from early Stella's work which stress identity and rationality could be interpreted that it has the homology with the change of ways of thinking in the late 20th century Society.

• Journal of Science of Art and Design
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• v.3
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• pp.62-86
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• 2001

This study is based on theoretical background about movements of visual communication highlighted in digital age. Such movements are variously expressed in animation with the advancement of media, and their expression has great effect on visual art. Artists' concern and endeavor about movement expression techniques have been continued by impressionism, expressionism, futurism, cubism closely related with the birth of movie from late 19th century to early 20th century. At that time, stationary 2D space in plane screen couldn't express movement or time directly. Later, artists and designers have attempted to approach illusions in pictures or 4 dimension and movements by 2D or 3D computer graphics. The visual image in present digital age is to see, to hear, to feel by timing, so it is necessary for the most efficient way of message communication. And then, it is the time to start new, scientific, and creative study about production techniques of animation and expression of movements, since domestic animation productions are rapidly changed from cell to digital. The aim of this study is to clarify the motive of movement by theoretical inquiry of animation. Various aspects of animation as synthetic art have been examined by mathematical, scientific, and philosophical viewpoint. The results will be useful to the expression of motions for maximization of emotional effect in animation production or basic data of virtual simulation about certain situation. Therefore, such study should be managed as multidisciplinary research in the rapidly changing visual culture paradigm. namely, animation includes much more imaginative & creative power than simple function or techniques, so it has to be recognized as special synthetic art(visual art) constructing an area, the formative art with philosophical viewpoint and scientific principles.

• Journal of Science of Art and Design
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• v.11
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• pp.5-35
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• 2007

When it comes to art, the two conflicting themes of 'scientific progress' and the 'nature' have often motivated the advent of the new mode of arts. By the late 20th century, uniform and simplified mode of arts, inspired by scientific and technological progress of that time, was gradually disillusioned by the contemporaries due to the adverse effect of science on human life. In this context, naturalism pursuing for harmony of human and the nature came up as an alternative to those living in the 21st century. The pendulum has swung from minimalism to naturalism. Though the quantitative improvement of human life cannot be denied, the uprise of such problems as environmental pollution and exhaustion of natural resources degraded the quality of human life, which, eventually, shifted the attention to the theme - 'revival of naturality.' Therefore, this thesis intends to represent the modem interpretation of the 'revival of naturality' by applying the major expressions of Art Nouveau that also emphasized naturalism. Art Nouveau found its motifs from organic figures of natural beings and put them to designs of decorative arts. This carries a historical significance in that Art Nouveau boldly revolutionized historicism, which only repeated adoption and modification of the existing modes of arts, and opened it to the modem design with new attempts to practical applications of the arts. Art Nouveau, which means 'new art', prospered from the late 19th century to the early 20th century, and even after one century, it is highly appreciated, reviving as novel and vivid forms in this contemporary art. Art Nouveau based on naturalism has revisited our contemporary period when naturalism and feminized romanticism came into fashion and its common motifs revive in different jenre of arts such as fashion, furniture, glass works, and jewelry works. This study illustrates and analyzes the works of four major artists who gave a specific attention to botanical motifs of Art Nouveau and applies decorative beauty of highly sophisticated and organic curved lines and the expressional forms of botanical figures to design. Art Nouveau proved this; the nature herself is as beautiful as she can be. Within Art Nouveau, the true humanism can be revitalized with the 'revival of naturality'. This study rediscovered the boundless potential of modern interpretation and application of Art Nouveau in decorative art and design.

• Journal of North-East Asian Cultures
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• v.28
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• pp.339-363
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• 2011

This thesis examines analyzing how historic knowledge was shaped in museum. Examining by Tokyo Imperial Museum, Government General Museum of Taiwan, Yi Wang Ga Museum, Government General Museum of Chosun, and NanTong Museum of late 19th and early 20th century, tried to find out similarities and differences. These museums are similar in that they adopt museums as modern system considering models of other countries(Europe or Japan) and exhibitions played important roles in gathering relics. Experts who leaded adoption of western civilization played an important role. These experts were conservatives who valued tradition and relics while they aimed for western civilization. It originated in the character of museum system. Historical Knowledge by museums was constituted with five combinations of conceptions which are nationality, locality, coloniality, and artistry. Every museum cannot help having modernity for museum itself is modern system. Modernity was symbolized by museum building of western style in Yi Wang Ga Museum, Government General Museum of Chosun. Tokyo Imperial Museum revealed nationality in that it tried building of imperial history which includes colonies. In early time, Tokyo Imperial Museum pursued modernity and artistry, however it concentrated on artistry than modernity later. We can find locality in that Tokyo Imperial Museum tried to find meaning about Japanese art by relating with natural characteristics. It is Taiwan Governor Museum that extremely expressed coloniality and artistry was not considered. Government General Museum of Chosun could not be exceptions of features of coloniality, but it need to recognize that artistry was focused all over the exhibitions. It was NanTong Museum that most directly expressed locality. Like these, Museums of East Asia established in around 1900 made different historical knowledge by varying weigh of five factors, nationality, locality, modernity, coloniality and artistry.

• The Research Journal of the Costume Culture
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• v.28 no.4
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• pp.544-561
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• 2020

Goldwork embroidery is the art of embroidery using metal threads. As well as being used as a decorative element of religious clothing, flags, performing costumes, uniforms, and badges, goldwork embroidery is also used in many current designer collections. Therefore, this study aimed to examine the techniques and materials of goldwork embroidery and the formative characteristics and socio-cultural values of goldwork embroidery from its beginning to the early 20th century. For this study, various embroidery works, costumes, museum portraits, and literature were analyzed. The results are as follows. First, the transition of goldwork embroidery was divided into 4 categories: The beginning of goldwork embroidery; the golden age of goldwork embroidery; the maturity of goldwork embroidery; and various goldwork embroidery (depending on the materials used, usage, and design features). The earliest extant example is the "Maaseik fragments" in Belgium dating from the late 8th to early 9th centuries. Until the 15th century, the Church was the most important patron of goldwork embroidery; however, after the 15th century, goldwork embroidery was produced on costumes. Second, the social-cultural values of goldwork embroidery (based on transition and formative features) were classified as expression of divinity, instrument of governance, desire to be approved, and tools of self-expression. Through this study, it is evident that there have been many advances in both technique and technology over time. Furthermore, patterns of usage and social-cultural values of goldwork embroidery have changed significantly.