• 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.

• The Journal of Art Theory & Practice
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• no.7
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• The Journal of Art Theory & Practice
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• no.6
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• pp.101-121
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• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• The Journal of Art Theory & Practice
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• no.16
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• pp.71-103
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• 2013

This paper explores the key figure of minjung misul ("the people's art"), Kim Bongjun, and the art collective Dureong in the relationship between 'dialogue' and the dissidents' structural critique of Korea's modernities. During the 1980s' prodemocracy movement, the minjung artists and other dissident intellectuals used the notion of dialogue as metaphor for and allegory of democracy to articulate not only Koreans' experience of modern history, which they saw as "alienating" and "inhumane," but also the discrepancies between Koreans' predicaments and their political aspirations and their working toward the fulfillment of those ideals. Envisioning alternative forms of modernities, Kim Bongjun and other Dureong members paid attention to the fundamental elements of art, which consist of art as a modern institution, as well as the everyday lives of people as the very site of Koreans' modernities. They endeavored to create "art of life," which presumes its being part of people's lives, based on the cultural and spiritual traditions of the agrarian community. They also participated in the national culture movement, the minjung church, and the alternative-life movement to radically envision everyday lives through the indigenous reinterpretation of democratic values. Despite the significant role played by the church mission and its community involvement, its effects on minjung misul have received little attention in the relevant studies. Thus, I consider in particular the minjung church's and the alternative-life movement's confluence of multiple cultural and social constituencies in relation to Kim and the Dureong collective's vision of a new art and community.

• Journal of Fashion Business
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• v.3 no.1
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• pp.159-175
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• 1999

In literature, a description of costume represents an individual's characteristics when the object is an individual. If the literary object is a certain group in a certain region, it would play an important role in representing the culture of time. It clearly shows that aesthetic consciousness of Hyo-Suk Lee who had accepted the western dandyism was well expressed in his literary works. Hyo-Suk has been unique in describing life-styles such as beauty of costume, art-for-art's sake, and leisure activities, and color imagery in his works. The color and the style of the costume show us the mental state of the wearer. They also affect the emotional states of other people. Hyo-Suk's "Pollen(화분)" and "Byukongmuhan(벽공무한)" confirm the fact that the mentality of the people can be hinted through the description of costume. They also ascertain that the color imagery retained by a special color can be altered by different circumstances and settings. Hyo-Suk applies in his works the effect of vivid color contrast, which newly appeared in Fauvism, to the description of costume. In consequence, he reflects the color aesthetics of Modern Art in which the fine art has an effect on the applied art.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1145-1149
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• 2009

In the 1960s, light art using neon or fluorescent lamp, etc and 'light and space art' appeared with kinetic art. Light art that is an extension of kinetic art tends to be digitalized art and focus on movement, while light and space art emphasizes psychological side and focuses more on phenomenal experience than movement itself. Light art generally tends to offer visual play, but light and space art offers not only visual play but also deep impression on audience's mind. In this paper, LED control method using sound and how color change influences people's mind are studied based on my works try to supplement shortcoming of light art. The main goal of my work is to make more effective and empathic interaction between audience and light in order to avoid cold and mechanical impressions that light art has. Based on its contents, this study seeks method to stimulate people's emotion, and suggests applying mentality on the color and sound interaction together to media art. In conclusion, it is believed that new model of media art is suggested through this study.

• The Journal of Art Theory & Practice
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• no.7
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• pp.89-123
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• 2009

The Philippines was colonized by Spain for about centuries, from 1521 to 1898, and ruled by America for around four decades, from 1899 to 1946. After recovering from the Second World War, the government started to harness human labor as export itself. In the present time the overseas Filipinos keep the economy afloat with their steady transfer of money to relatives and dependents. Through the art works, the issue which Filipinos were exploited and exported by its government has been reflected as the various allegories. As Filipinos traditionally follow and keep Catholic belief, themes of Christ's sacrifice has allegorically been represented as salvation, struggle, suppression, and emancipation of people. Through the allegory, we can interpret both the intrinsic and superficial texts. Also we can identity certain modes of the visuality of allegory in selected works from Philippine art history that in their complex mediations materialize the people and dignity of their predicament and their prevailing. Philippine art can be divided as three different features: passion, vagrancy, and mass formation. The passion stage was depicted as deep structure of Christian thought and devotional feeling, harsh capitalist system. In the pictures of vagrancy, under the regime of Ferdinand Marcos, the themes of drift, deprivation, and homelessness are reckoned through the images of pictures. The stories represented with allegory have been played an important role to bring local issues up as national ones. Those stages take us to the processes of mass formation or the depiction of the people as a moment in the totality of force. The allegorical sign refers to another sign that precedes it, but with which it will never able to coincide reach back to a previous stage and in this constant attempt at return incorporates a structural distance from its origin. The true people's art is one that radically generates transformative technologies and techniques so that it irrevocably breaks the plane of "art". In the painting, the truth is represented by functioning as foundation of a rhetoric of the image. And at this axis, the passional, the vagrant, and the mass formation tend to come together because they render the form of contingency that must be suffered and hopefully surpassed, a Filipino subjectivity that must be stitched in time.

• The Journal of the Korea Contents Association
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• v.11 no.6
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• pp.185-196
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• 2011

This study is considered how retro design concepts that are used pop art can be expressed through overview of theories and cases, and suggested applying to retro design. As a result, we found first, concepts reflecting popular image, second, popular hero concepts simply represented pop art's feature. Third, there were no cases that are expressing the wounds made by political life. The most of cases expressed retro design with pop art representation techniques rather than reflecting of pop art's ideology or spirit. Pop art's retro design should be expressed as a modern style not only with reproduction of pop art, but also with designer's creativity and pop art's ideology and reinterpretation of formative meaning. Thus, it needs to set a concept by exploring of modern globalized mass media or daily life of people. Also, it should applying people's entertainment, spare time and fantasy to bright cheerful mood of pop art to express each area of design.

• Journal of People, Plants, and Environment
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• v.24 no.6
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• pp.685-691
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• 2021

Background and objective: Understanding abstract art as an art form requires depth of thought. Moreover, understanding land art as abstract art is challenging, given its focus on the minimalism and abstract concepts. Much focus, research, and work were actively conducted in the 1970s, as it represented an abstract expression of minimalism. The characteristics of minimalism connote abstract meanings in the use of materials. Nevertheless, the original research of works or artists has often been mentioned, but few studies have analyzed the abstract language of land art materials. The aim of this study is to thus determine the abstract meanings of materials in land art from the 1970s to the 2010s. Methods: Art-based research was employed to address the aim. This study classified the land art materials into intangible and tangible materials, where intangible materials focused on lines, circles, and labyrinths, and tangible materials focused on the earth, stones, wood, and snow. Results: Intangible and tangible materials of land art conveyed various abstract meanings. Intangible materials were reflective of connection and symbiosis with nature, delivering abstract languages of 'take-nothing,' 'reflection' and 'opportunity.' Tangible materials reflected the abstract concepts of 'intervention,' 'resistance,' 'unliving,' and 'change,' and conveyed caveats. In other words, taken together, intangible and tangible materials were presented in symbiosis-and with caveats-and delivered messages for the present and the future. Interestingly, intangible materials inherently reflect symbiosis and communicate caveats in works based on a non-contextualized present and future. Conclusion: Interpretation of the abstract languages derived from intangible and tangible materials could imply a symbiosis between humans and nature, while conveying the message that caveats, to humans, are still ongoing. This relationship plays a significant role in an artist's selection of a medium, which is reflective of abstract beliefs reflected in contemporary, nature-based works created on Earth.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.68-77
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• 2012

Hair style takes a large part in emphasizing to the appearance and the effect of image transformation with fashion to the modern people whose competition is appearance in 21 century. According to the development of mass media and the exchange of the life style. Image creation which correspond to T.P.O is needed and style-up is also required in modern costume, as the coordination for special day is routinized. In this study, the expression of a fine and organic line shown as a motive in Art Nouveau style's works is applied to style-up design and a new view sight to the style-up design through the art history is suggested with developing style-up design to satisfy the upgraded customer's requirements. The feminine beauty is appeared as a various image by applying style-up design from Art Nouveau style through this study. and the infinite possibility to the design development can be found with activated motive of Art Nouveau. These Art Nouveau trend will be a foundation to the inspiration of high artistic design and will be helpful to the aesthetic satisfaction of the elegance modern people. Therefore, I hope this study will be a fundamental data for creative development of hair design through the art history which may be forgetting.