• Journal of Fashion Business
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• v.24 no.6
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• pp.18-45
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• 2020

Feminist artists are special in Chinese modern art. Sticking to their own artistic ideas, they constantly emphasize women's psychological characteristics and aesthetic values in their works under the background of modern society. Since feminism was introduced into China from western arts in the 1970s, it has greatly inspired Chinese female artists. This study used comparative analysis and correlation analysis to establish the connection between the works of local Chinese female artists and modern women's wear design, this connection is the common language form of Chinese female artists and modern fashion designers when expressing female psychology and aesthetics. This is a way for Chinese female artists to seek dialogue with Western and global female art, and the development characteristics of the localization of feminism in Chinese art and design. The significance of the research is to improve the international artistic atmosphere of Chinese feminist art and instill a new understanding of Chinese feminist art in the world.

• Journal of the Korean Society of Costume
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• v.60 no.2
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• pp.81-98
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• 2010

This study aims to examine the subjects of cultural power of the modernism and post modernism eras, and analyze how the change of power and subjects influenced fashion throughout the history from the microscopic perspective, and thus to explain the social relationship of the fashion phenomenon. The study findings can be summarized as follows. First, as the post modernism era which was being formed centering around Europe that was pursuing Haute Couture and formal masculine suits ended and the post modernism era started, America became the center of the world power, and the American equalitarianism and growing wealth among the general public spread over the world, and as a result, the ready-made clothes were propagated over the world, and various subcultures came to have multi-national tendency in the New Media society. Second, in the modernism era, the high class, whites, males, and the pre-existing powerful class were the subjects of cultural power. Although this changed in the post modernism era, as some of power moved from the high class to the middle class, the economically affluent general public, still the western world, males, and whites held the center of power. However, later, females, youths, the third world nations, and so on emerged as minor power, and when the New Media society started, the structure developed so that everyone can share cultural power.

• Journal of Fashion Business
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• v.16 no.2
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• pp.108-123
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• 2012

The objective of this research is to examine the fashion styles of Choe Seung-Hee (1911-1969), modern woman and dancer of Korea, through her life and activities. Choe Seung-Hee's fashion styles in daily life, in advertisements and in dance performances were examined through the theoretical and empirical studies within the scope of this research, which is from 1926 when she entered the world of dance to 1946 when she defected to North Korea. The result is that the fashion styles of Choe Seung-Hee is not simply that of an individual modern woman and a dancer who lived in the early 20th century but is a meaningful symbol of Korea's modern women.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.11
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• pp.79-88
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• 2019

The goal of this paper is to explore the relationship between modern architecture and interior decoration through the study of decoration and ornament. It is noteworthy that modern architecture and interior decoration occurred at about the same time. Our analysis shows that the two are closely related to each other. That is to say, modern architecture tried to eliminate ornaments (and decorations), symbols and meanings from the built environments and to embody efficiency and rationality instead. However, in the interior of the building designed and completed by the architect, the user began to decorate his world through decoration or to refer such work to the new expert 'interior decorator'. In a word, the latter took charge of the role deserted by modern architecture.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.12-20
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• 2005

Just as culture is a collection of lifestyles, Cultural Properties is what is made over a long period of time and is left around us, whether it takes form or not. Many countries around the world have their own standards and are trying hard to preserve those with precious values. And in the case of Modern Architecture, because they are still in use In our daily lives and for the lack of recognition, they are continuously threatened during urban changes and developments. The purpose of the research is not to preserve Modern Architecture as done In the museum, but to seek a way for it to coexist with the changing environments of contemporary cities. Therefore, it is to recognize Modern Architecture as valuable assets, which expresses historicity in urban settings, and to seek the design characteristics of Modern Architecture. This is a process in order to find a new method for conservation of historicity. The result are as followings. Modern Architecture have their design characteristics and these can be applied as a design guideline. Therefore the form, material, and the colors of individual Modern Architecture can be analyzed so as to create a design guideline according to their styles. According to the analysis of Registered Cultural Properties in Seoul, they can be categorized into 6 uses and found the design characteristics of individual uses.

• Journal of the Korean Home Economics Association
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• v.32 no.5
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• pp.201-216
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• 1994

The materialism prevalent in the modern industrial society and concern for the destruction of nature have led people to long for the returning to nature and excite their nostalgia for old. These phenomena induced in modern fashion naturalism retrospectivism ethnicism and primitivism. In the following we present our findings in regard the roles and relationships of the tie dying with the modern fashion design. in regard the roles and relationships of the tie dying with the modern fashion design. The common basic themes are founded as follows; 1. Naturalism: The tie dying is from very old times and has evolved in many parts of the world producing their own natural designs and color. They bear the characteristic of nature; the pleasantness smoothness and complexity. 2. Individualism and hand made: No two items produced by the tie dying technique are identical even though they are similar by design and their individuality is to some extent determined by chance. The retrospetivism and individualism are themes relating to the modern fashion. 3. Ethnicism and primitivism: The tie dying brings up the 'ethnic and traditional' to us and their designs and colors present the new images of the ethnic and primitive influences to the modern designs. 4. Ecology recyle and grunge look: The tie dying represent the recycle of the used natural resources such as making the old cloths useful again in new forms by tie dying them. The old clothes thus restored show wrinkled untidy and somewhat loosely fit form. This image of 'grunge look' is one of the central theme of the modern fashion.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.415-443
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• 1994

This thesis, drastically breaking from the prior form of art, searched mutual relationship between surrealism centering around surrealism which tried to liberate the spirit of humanbeing by investigating internal world of the humanbeing. That is to say, it is the purpose of this thesis to study the relationship between artistic trend and costume by grasping how the artistic trend of an age was specifically accepted and expressed to the modern costume as the foundation of fashion. Followings are the searched results for searching mutual relationship of the surrealism and modern costume. At first, surrealism made it possible from modern costume to an expression of formative art, and at the same time emerge from existed uniform costume, and thus presented new possibility to the harmony of costume and art with fresh and avant-garde sense. Second, by being applied the expressing method of depaysement which could materialize surrealistic image to the modern costume from various angels, and thus it suggested new aesthetic conception different from general conception of the traditional costume. Third, with regard to modern costume, introduction of various object due to thought of surrealism was a new and innovative attempt, and thus it suggested infinitive possibility of creation. So, it suggested that we could thrown away a fixed idea and that every objects could be moulded. As the result of the afore-said, wide application of the idea and formative feature of surrealism with regard to modern costume did not only ring the diversification and individualization of the costume escaped from the past traditional idea, but also at the same time prepared modern costume with the moment to develop as a formative arts.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.1
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• pp.65-80
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• 1994

In the 20th century, The artistic world was constantly producing new ideas and movements and the world of fashion responded to and reflected them all in greater of lesser degree. Dress designers have always been aware of what is happening In the arts and have always been able to use the discoveries and ideas of the artist to help them solve design problems and create fashion which are new, inventive and reflective of thier time. Up to the present, other researchers have investigated the connections between the fine arts and the Modern Fashion. In this respect, the objective of this research was to clarify the characteristics of painting of the Impressionism on the Modern Fashion. In order to investigate the relationship between the trend of painting and Modern Fashion. Especially, Impressionism's light and color affected both 20th's painting and other sorts of art. That is, the trend of the modern painting, Fauvism, Cubism, Surrealism, Abstract art, Abstract Expressionism, was influenced by Impressionism painting. Similarly, in the sihouette, line, color, fabric pattern of the Modem Fashion was represented characteristics of the Impressionism Painting. The fashion's Fauve, Paul Poiret was excited by the power of color in the same intense way as the 'wild beasts' of art. The color of his clothes during that period was bold and brilliant. Gabrielle Chanel simplified the shape of women's clothes to a square cardigan and rectangular skirt. This was a cubist concept. Art and fashion probably held hands closest in the 1930s, when Elsa Schiaparelli was creating clothes directly influenced by the Surrealist thinking of Salvador Dali. And she burst upon the fashion world with a sweater that had a trompe I'oeil bow. Soma Delaunay was one of great pioneers of Abstract in. She proceeded to mix strong and bright colors into her art and created the geometric and abstract patterns of the clothes and fabrics with her strong color. The influence of Abstract Expressionism was expressed the fabrics of the Modern Fashion. Some fabrics used in Modern Fashion are printed in a dripping pouring and splashing style. For the future, some futher research to investigate the art-fashion connection might involve establishing systematic classifications for silhouette, line, texture, color of the fashion. Moreover, in order to study the influence of fine art on the fashion, a broader approach might wish to analyze the relationship between painting and other plastic arts.

• The Journal of Art Theory & Practice
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• no.9
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• pp.59-91
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• 2010

The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by 'Bauhaus syashin(Bauhaus Photographies)' at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as 'Bauhaus syashin(bauahustofografie)' in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as 'Bauhaus Syashin(Bauhaus Photographies)' used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it 'Bauhaus style'. 'Bauhaus style' is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of 'Bauhaus Photographies' in his article in 1985 as well. This study considers the historical background for the mistake of the term of 'Bauhaus Syashin(Bauhaus Photographies)' in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of 'Bauhaus syashin(Bauhaus Photographies)' in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.

• Journal of Science of Art and Design
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• v.7
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• pp.105-127
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• 2005

This research is on the characteristics and roles of important cities of Germany based on the history of the modern art museum and its possessions. Especially, it is focusing on the modern art museums in the western Germany including Dusseldorf, Koln, and Frankfrut that have shown economic recovery from the Miracle of Rhine; the capital city of Germany, Berlin, as well as Munich, the second capital city of Germany. Here, it harmonizes with the tradition of the past and simultaneously, it spreads the concept and role of the new museum as a forerunner. After the WWII, this is the most active of supporting investment for art museums and authors from the economic development. Also, it represents Germany with its national promotion of culture and arts. The modern art museums of Germany emphasize the mission that they exist for the people and the nation as well as creation of new art culture. These art museums working for national culture and art development do not simply collect and preserve arts. They induce active involvement from the public and keep in mind of national objectives. Here, art museums become and educational setting for the people and a room for new art culture. This research is on Germany modern art museum and it is composed of important 'public institutions' of Germany that critically influence the growth of world-renown authors. After the unification of Germany, Munchen and the western region became an important places centering around new Berlin modern art museum. They are the best places that show the national objectives and regional characteristics. Also, there are art museum educational curriculum and open space for the people by explaining exhibition plans and contents. Furthermore, there are two characteristics of German modern art museums that are noteworthy. Firstly, there are Berlin's Neue Nationalgalerie, Munchen's Pinakothek de Moderne, and Dusseldorf's 'K20' (Kunstsammlung N-Westfalen K20) that are the roots of modern art. These modern art museums exhibit popular author's collection repeatedly. This has a tendency to standardize audiences' view or to make audiences bored. It is becoming more like a trend for art work to appear and disappear. Despite these problems, German modern art museums play a critical role for a new cultural art creation and for the national identity by attempting to show the works of domestic authors as well as an intensive collection of world-renown authors' works. Secondly, there is a role as a new art museum to work together with people. It strives to continuously educate difficult modem arts, exhibits in an open space stimulating interest, participation, and conversations. From these roles, Hamburger Bahnhof Museum fur Gegenwart or Dusseldorf's 'K21, Frankfurt Museum $f\"{u}r$ Moderne Kunst, $Kf\"{o}ln$ Museum Ludwig are given new attention. Here, they emphasize the importance of communicating with the audiences and provides experiences that are different from the original spaces by showing the architecture tecture style of the art museum. In conclusion, German modern art museums attempt various changes by connecting to art education. With art museum activities, there forms a connection between arts and the lives of people, and from this, creative cultural art focused on the art museum borns. This is not only limited to Germany, the U.S., etc. We, too, should pay attention to new art culture creation from changes of role and function of modern art museums.