• Journal of the Korean Society of Costume
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• v.38
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• pp.159-178
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• 1998

Genres of the modern arts are expanding the overlapping area between the arts ; ceramics and weaving considered as crafts are devel-oped to the ceramic art and the fiber art, re-spectively. This trend has been also applied to the clothing part, which produced several new terms such as‘art to wear’,‘unwearable art’,‘clothing sculpture’and so on. As following this tendency, the unwearable art is dwelling on the boundary of painting, fiber art and scul-pture, and the clothing sculpture comes from the combination of fiber art and sculpture. While Issey Miyake's dress made of bamboo and Foltuny's pleats dress associated with Greek stone-column introduce the sculpture to the functional fashion design, the works of clothing sculpture become the arts by applying the sculpture to the non-functional unwearable art. Although the clothing sculpture is an interesting subject to be studied continuously for its effect on the contemporary clothing part, it is valuable enough as an unwearable art and sculpture respresenting the artist's concept under the circumstance that the boundary between arts and design is no longer clear, i.e., the clothing and the sculpture come across their regions each other. Furthermore, the clothing sculpture has its own value as a metapor exposing idea, feeling and spirit of the artist in the genre of the unwearable art. With a view point of the abstract clothing concept, the clothing sculpture has been taking the role expanding the clothing to the world of fine art.

• Archives of design research
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• v.16 no.1
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• pp.199-208
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• 2003

The Israel-born Ron Arad is one of Britain's "superstar" designers, an it has been said that he is Britain's answer to Philippe Starck. Arad is a highly individualistic designer whose ideas stem from a mental process that has more in common with that of the fine artist than of the jobbing designer for industry. His imagination expresses itself in the form of things. By the early 1990s he had become internationally recognized for his "ready-made" work. His furniture and lighting designs required extremely costly labour-intensive techniques to produce. As his work was highly evocative, suggesting a post-industrial world in which the urban landscape was characterized by materials in a state of decay. More recently, through collaborations with Italian and German manufactures, his work has reached a new level of sophistication and finish, which differentiates it from the earlier designs. As Arad reputation as a designer of workshop-based furniture came to an end and the era of "democratic" Arad furniture came into being. By middle of the decade he had become one of the most-discussed designers of the day. The spirituality that emanates from all his work is a product of his particular vision of the creative process, far removed from the typical, stereotyped trends in the sphere of modern industrialization. He goes one step further in his work by attempting to restore aesthetic dignity to the objects of daily life, in a search for beauty within the immediate environment.hin the immediate environment.

• Journal for History of Mathematics
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• v.22 no.2
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• pp.53-68
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• 2009

From ancient Greek times, the infinite concepts had debated, and then they had been influenced by Hebrew's tradition Kabbalab. Next, those infinite thoughts had been developed by Roman Catholic theologists in the medieval ages. After Renaissance movement, the mathematical infinite thoughts had been described by the vanishing point in Renaissance paintings. In the end of 1800s, the infinite thoughts had been concreted by Cantor such as Set Theory. At that time, the set theoretical trend had been appeared by pointillism of Seurat and Signac. After 20 century, mathematician $M\ddot{o}bius$ invented <$M\ddot{o}bius$ band> which dimension was more 3-dimensional space. While mathematicians were pursuing about infinite dimensional space, artists invented new paradigm, surrealism. That was not real world's images. So, it is called by surrealism. In contemporary arts, a lot of artists has made their works by mathematical material such as Mo?bius band, non-Euclidean space, hypercube, and so on.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.4
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• pp.463-474
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• 2000

The purposes of this study is to investigate the characteristics of historicism in modern fashion and to introduce the appropriate approaching and application method of costume history. As one of the characteristic of Post modernism, historicism is an important theme in modern fashion. In this study, the background and the characteristic of Post modernism is considered and the historicism in the Post modern architecture and literature is studied. Next, through the artworks of Vivienne Westwood and Christian Lacroix who are excellent in the modernization of historical costume, the historicism in modern fashion is studied. The characteristic of historicism in Post modem architecture and literature comes from the nostalgia, aspiration for the past, and recurrence to the nature. It is not the revival of the past but the crossover of the past and the present. The characteristics of historicism in modern fashion are as follows. ·form; style, silhouette, and items that are shown in the historical costume come with the mixture of modem textile, new technique, and modem design. ·Materials and patterns; classical and romantic patterns, the artwork of the artist, and the fabric which is remake of remains are used. ·Technique; Tailoring techniques and the pattern making of the historical costume are used. ·Trimmings and etc.; Lots of handworks, trimmings and accessaries in that are inspired from the past are used. These elements are not come from a certain place and time but mixed surpassing places and times. With that, not only the form and the position of wearing but the meaning and purpose of wearing are changed.

• The Journal of Art Theory & Practice
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• no.15
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• pp.51-79
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• 2013

This paper examines the characteristics of post-modern self-portrait photography. Characteristics of postmodernism associated with the "loss of centeredness," such as the death of the author, interdisciplinarity, and intertextuality, brought about a number of changes within the self-portrait. The distinction between post-modern and modern self-portraiture can be characterized by the following qualities: appropriation, the use of photography, and the utilization of the human body as an art. The characteristics of post-modern self-portrait photography can be represented through the works of Cindy Sherman, Orlan, and Morimura Yasumasa. By presenting prototypical women in her works, Cindy Sherman not only represents images of those women, but also exposes her fictitious role in the work. She creates a distance between herself in the works and herself in reality and discloses a paternalistic gaze. Meanwhile, Orlan transforms her face into a distorted image and presents it as an alternative identity that is representative of postmodernism. She corrodes the standard concept of identity through plastic surgery and treats the face not as a place where the identity stays, but as a simple body part or fragment of skin. Orlan's post-human face is malleable according to the artist's desire to raise the issue of what the human face is, and opposes the structure of modernism. Morimura Yasumasa also appropriates images from masterpieces and presents a hybrid identity between Eastern and Western, male and female, original and replica, and subject and object. In order to dissect social prejudice, he puts forth every single structural dichotomy that coexists in his self-portrait and suppresses a strong ego. He also studies the relationship between 'seeing' and being 'seen' by trading the painter's role from that of the subject to that of the object.

• Journal of Digital Convergence
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• v.18 no.8
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• pp.459-467
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• 2020

From the perspective of the artist who produces modern ornaments, I wanted to see the future of modern ornaments in the hyperconnected era. I would like to find a practical way of converging information communication technology, which is one of them, and applying nfc tag among them. For the practical approach, after looking at the actual examples of commercial ring products using nfc tag technology, I tried to find a practical method that can be applied to modern ornaments produced in the workshop. As a result, two realistic alternatives were drawn: the investment method, which is free to converge, but has limited technical utilization, and an assembly method that requires high convergence from the design planning stage. After then, to know investment methods, have been produced that may have problems with real applications. I made a real sample, not a concept, to explain the technical factors and precautions necessary for applying nfc technology.

• Journal of Digital Convergence
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• v.15 no.5
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• pp.333-338
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• 2017

Modern ceramics art has various expression techniques. Among them, the digitization of modern society has led to the development of the transfer printing technique, and the technique of transfer printing has been utilized as medium of expression of modern ceramics. However, the transfer printing technique is merely uniform and does not give enough information to utilize the artistic expression of the craftsmen using the technique of decal rather than actively utilizing it in the field for mass production. Therefore. In this paper, we will examine the works of contemporary pottery artists who understand the meaning of the transfer printing technique and express the artist 's personality and artistry with transfer printing technique, so that the transfer printing technique can enhance the aesthetic and artistic effect of ceramic art as the expression medium of modern ceramics. We want to lay the foundations for a higher value-added industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.7 s.144
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• pp.926-937
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• 2005

The analysis category of Art to Wear was text analyzed from the research material of 100 projects put together by fashion specialist. The conclusion of Art to Wear was comprehended the general features of it were compared and analyzed from a semiotics context. According to this analysis, the formative features of modern Art to Wear is categorized into three different dimensions from a semiotics light. The formative features of modem Art to Wear in the light of syntactic dimension was divided as an open constructed shape of Space Extension, non-typical Deformation, Geometrical Plasticity. The formative features of modem Art to Wear in the light of semantic dimension express symbolic meaning through metaphorical sign. These sign reflect the body image of the life and death and its objective of Abjection, Hybrid of discultural appearance and the image of Hyper-reality, which are features used to comprehend the inner meaning. The formative features of modem Art to Wear in the light of pragmatic dimension divided the artist emotion and meaning system delivered by Emotive Image, the Phatic Image that arouse inner signification and the Poetic Image which contain artistic and aesthetic meaning within it.

• Journal of the Korean Society of Costume
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• v.50
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• pp.183-196
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• 2000

Andy Warhol is one of the great artists in the modern history of art who compares favorably with Picasso. His activities had his object on pervasion of a pop art and profit of the art industry. Many previous studies on his activities have attracted and held the attention of his works of art after 1960s. However in spite of his working as publisher of a fashion magazine fashion illustrator fashion model displayer and etc. in 1950s. there are few studies on his activities of 1950s. Hence this study investigates his works of art in 1950s. and intensively analyzes his effect on modern fashion. In 1950s, Andy Warhol had already been distinguished in works of art from other commercial designers through the illustration for advertising design window display of stores and usage of Hollywood stars as anessential element in his works for whom he had sighed when he was young His works were also characterized by a rejection of they originality of commercial arts. He had an great effect on youth's fashion in 1950s and has activities in 1950s had influence on the diffusion of the public punk fashion in 1970s and the street fashion in 1980s.

• Fashion & Textile Research Journal
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• v.11 no.6
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• pp.934-941
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• 2009

The purpose of this study is to examine by which correlation the pluralistic phenomenon in text is functioned in comparison with hair style and fashion in collection. As a result, the pluralistic image in text, which was shown in modern fashion, was indicated to be pluralistic phenomenon by gender, T.P.O, coordination, and material. The pluralistic image in text for hair style can be known to have been indicated to be the pluralistic phenomenon in text for gender and to be the pluralistic phenomenon in text according to material and cultural category. As for a method of this study, it did put limitation on the part that is shown in the fashion collection from 2001 to 2007, analyzed hair-style features centering on photos, which were extracted from style.com, the online site of specializing in fashion, and carried out a literature research side by side with the theoretical background on intertextuality. The analysis in work according to the pluralistic phenomenon in text made it possible for looking at with a new sight differently from the recognition in the past, and opened the potentiality for being able to understand lots of strange representations, which have been impossible so far. The process of imitating and reconstructing each text according to compositional principle led to possibly knowing the necessity of an artist's ability that can implement the originative world.