• 디지털융복합연구
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• 제12권12호
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• pp.601-609
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• 2014

아르누보(Art Nouveau)는 자연을 모티브로 한 양식으로 인간의 삶의 질을 높이려는 현대디자인의 이념과 상통하여 식물을 주로 모방한 곡선을 사용하면서, 자연친화적인 특징에 그리스 여신의 이미지를 가미하여 헤어바이나이트를 디자인하여 제시하였다. 이 논문의 연구범위는 다양한 곡선을 사용한 아르누보 양식 중에서 르네 랄리크(Ren$\acute{e}$ Lalique)와 에밀 갈레(Emile Galle)의 아르누보 양식에 기초하여 꽃과 유기적으로 연결되어 있는 아르누보 양식을 응용하였다. '색들의 향연'으로 에오스 Eos(새벽의 여신)와 헤스티아 Hestia(불의 여신)를, '선들의 향연'으로 아르테미스 Artemis(달의 여신)과 데메테르 Demeter(땅의 여신)로서 총 4개의 작품을 제작하였다.

• 미술이론과 현장
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• 제6호
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• 한국멀티미디어학회논문지
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• 제18권8호
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• pp.980-987
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• 2015

Most of cultural area which people enjoy and consume is kitsch culture, though the culture is barely acknowledged. In this multimedia era, people create, publish and enjoy contents of 'webtoon(web+cartoon)', which is relatively faster and more convenient to enjoy comparing to published cartoon. Contrarily to its physical growth, the webtoon shows difficulty in advancing with other genres, is full of irritative factors and contents, and has tough time to become more sophisticated one. This study derived characteristics of kitsch in webtoon, suggested the way of webtoon as an art by analyzing conditions and usage motivation of webtoon. The conditions of kitsch are uniformity of mass consumption, popular vein, catharsis, vicarious satisfaction, immediate feedback-requiring image flood, and reproduction of techniques. The usage motivations of webtoon are studied as pursuit of information, entertainment, relaxation, socialization, convenience, and effectiveness. Usage motivation factors in webtoon and kitsch culture are almost identical. Contrary to its past of being underestimated and vulgarly considered, kitsch is acknowledged as an 'kitsch art'. By studying the process of becoming an art, the study has its purpose to suggest the experimental and developing way to make webtoon be acknowledged as 'webtoon art'.

• 조형예술학연구
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• 제6권
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• pp.226-248
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• 2004

The researcher has tried to develop the aesthetic value of the art and the function of metalwork in conjunction with our daily life. especially has been eager to develop the new possibility of metal urns through the investigation of ordinary metalwork. Funeral urns are vessels to fill the ashes of bodies. As the social issues, including problems of restricted land territory and environmental pollution are awakening, many people are much concerned about the use of urns in recent days. Although social concerns about cremation and urns are getting high, most urns in Korea have been made of ceramic and stone. The shape of old urns are pot style with lids, and their color is simple white or jade green. Moreover, old urns are expensive, unpractical, simple, and furthermore, the feature of urns has not preserved the sense of beauty. In this context, we have narrow choices to select urns, and it has been difficult for us to be familiar with the old-style urns. Therefore, the need for developing metal urns are necessary as the increase of public concerns towards cremation is widely spreading. As it is well known, metal is not only regarded as hard, antibacterial, pro-environmental material , but also regarded as good substance for urns. Metal is also suitable for making urns because of metal's characteristics of easy processing, mass production, and cheap price. The researcher has been tried to find the possibility of art of metalwork through the dissemination of metal urns to the public. The researcher has also attempted to represent the characteristics and symbolic implications of contemporary metal urns for ordinary people to adopt metal urns as their 'Rite Haven'.

• 한국조경학회지
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• 제33권3호
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• pp.43-55
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• 2005

Since 1990s, increasing number of public arts have been installed in housing projects in Korea. Most of them were made of granite, bronze and stainless steel and were sculptures as well. Then it resulted in monotony. New technology and community need various Dials in material and genre of Public art. The author wonders if people really want granite sculpture, so started the study of public arts in housing projects. Unfortunately most of people related public art wanted granite sculpture. But there were some hope in survey. They wanted the other genre and material like ceramic wall, art fountain and landmark tower. This means that they care about real world like vandalism and Product Liability, but also want more fantastic and beautiful world in the second step. Recently, the facades of apartments are changing rapidly as more diverse materials in their forms, textures, and colors. And landscape designs are changing their clothes in every second as well. According to these flows public arts in apartments needs more diversified trial within genres and materials to avoid monotonous outdoor.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.142-149
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• 2009

User and media are in close coalition with each other in the 21st century's era of New-Media. The new users exposed to the New-Media environment have a complete understanding of the digital media environment, and are also taking on the role of an active identity in the formation of culture in new media. In the field of spatial design, creative spatial interfaces designed through various methods derived from the New-Media environment and technology that weren't even imaginable in the past ultimately came to exist in a mutual relationship with the user, the people. This study is in the same context as studies looking into the establishment of design in media art and digital media space in the New-Media environment. Media art is an outcome arising from the demand towards new art combined with the attempts towards accepting various media as a means for artistic expression. Media art seizes to being a mere part of art, but more. This study aims to look into the theoretical basis of New-Media and define the design process through the expressional characteristics and triggered thoughts thereof. Lastly, the results of the research will be put together to produce the final results. Such analysis process will be the basis of the creation of a new paradigm and spatial thought, and allow people to be concerned about the various changes in spatial formation.

• 기술경영경제학회:학술대회논문집
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• 기술경영경제학회 2005년도 제26회 동계학술발표회 논문집
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• pp.109-123
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• 2005

There has been great effect on development and usage of resources as well as technological development including everyday life pattern to maintain environmental sustainability, Also, It is tend to become negative for people's concern of nature ecosystem toward new technological developments because it is neither environmentally, nor naturally friendly. Therefore, our study is to implement expert education and research system which includes the trends and requests of our society with objectives as follows; First, Training industrial technology and policy maker who can understand and practice ecological ethics. Second, Educating people with expertise which can evaluate and complement the environmental friendliness about new industrial technologies. Third, Educating people who can develop technology which is environmentally friendly. Our new program requires various knowledges and balanced point of view. To this end, students are required to understand field of art and sciences including emerging eco-buddhism subject as well as field of state-of-the art environmental technologies such as recycling technology and clean production technology.

• 한국조리학회지
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• 제5권1호
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• pp.51-62
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• 1999

People who cook often say "cooking is art" or "cooks are the same as doctors". But matter how hard they way repeat these speaking, if they are not permitted socially, that becomes a useless thing. To sublime cooking into the art and cook like doctor′s prescription, culinary duty must be peformed by craftsman spirit and soul to endow artistic value. And culinary course is carried out by virture of scientic basis like doctor′s prescription.

• 대순사상논총
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• 제35집
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• pp.217-253
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• 2020

이 연구는 선경(仙境)과 음양합덕, 그리고 천지공사(天地公事)의 원리를 분석하여 조선 미술과 접목하는 입장이다. 이에 대순진리의 태극 사상이 조선 미술에 깊숙이 스민 정황을 찾아내는 연구이다. 이로 말미암아 한민족의 생활이나 습속에 내재한 대순사상이 어떻게 비치는지 파헤친다. 아울러 한민족의 정서나 사상이 어떤 모습인지 대순사상과 창작품을 바탕으로 검토하는 데 따른다. 더욱이 대순사상이 학예에 파고든 정황을 우주론 차원에서 입증하는 데 따른다. 이에 부응한 연구 목적은 대순사상이 내세우는 핵심을 시각 이미지로 생생하게 들춰내는 일이다. 이로써 대순사상과 조선 미술의 결합에 부합하는 문헌과 더불어 실재성을 동시에 확보한다. 그 일환으로 이 연구는 우주론에 입각한 태극 원리로써 대순사상의 세계를 다룬다. 이러한 사상 개념은 조선 미술에 고스란히 드러나는데, 이를 예술 철학 입장에서 분석하여 점검한다. 우선 대순사상을 해결하려는 방안으로 대순진리를 개진하고 이를 조선 미술과 직접 접목한다. 이로써 대순사상이 한국인의 삶에는 어떻게 비치는지 밝힌다. 이와 관련하여 조선 미술의 선정 방법은 민중 생활에 깊숙이 파고든 창작품을 선별한다. 가령 대순사상이 조선조의 풍속화, 민화, 산수화에 집중하여 나타나는 만큼 이를 단서로 입증과 검증 절차를 시각화하여 다룬다. 이 연구는 조선 미술에 스민 대순사상을 예술 철학 차원에서 분석하는 일이다. 이에 따라 음양합덕과 태극 사상이 조선 미술에 내재한 상황을 찾아내는 시도는 대순사상이 민중과 동화한 정황을 들추는 근거이다. 더불어 조선 미술에서 대순사상을 점검하는 일은 조선 미술의 양식뿐만이 아니라 한민족의 생활과 의식, 그리고 정신세계를 생생하게 확인할 기회이다. 그 일환으로 2장에서는 대순사상의 형성을 밝혔다. 3장에서는 '선경(仙境)'과 '음양합덕' 사상의 구조, 그리고 '천지공사(天地公事')와 '태극' 사상을 우주의 운행 법칙에 기인하여 밝혔다. 이에 천지공사의 운행 법칙과 태극 구조를 접목했다. 4장에서는 대순사상과 조선 미술의 융합 차원에서 한민족의 삶과 더불어 창작품에 나타난 대순사상을 분석했다. 이른바 창작품 분석은 실증 자료로 드러내는 데에는 유용한 효과인 만큼 조선 미술에 배인 대순사상을 정밀하게 밝힐 단서이다. 이를테면 <금강전도>, <금강내산전도>, <쌍검대무>, <쌍치도>, <주사채부적도>, <화조기명화분도>, <문자도>에서 선경, 음양합덕, 천지공사의 이치를 분석 대상으로 삼았다. 그 결과 대순사상에 나타난 태극 사상이 조선 미술에 고스란히 스민 정황을 입증했다. 이 모든 진술을 감안할 때, 대순진리가 추구하는 태극 사상은 만물이 상호 생성하면서 변화를 따르는 섭리이다. 그런즉 태극 사상은 한민족의 삶에 지대하게 자리하여 '상생(相生, Mutual life-saving, mutual life-bettering)'으로 융화하는 섭리에 상호 응대한다는 점을 도출했다.

• 만화애니메이션 연구
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• 통권42호
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• pp.195-212
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• 2016

1950년대 대량생산을 포함한 대중매체의 영향력이 증가함에 따라 '대중적'이라는 표현이 이슈가 되면서 '일상적인 것'에 대한 관심이 커졌다. 그리고 이러한 현상이 미술계에서는 팝아트라는 예술양식을 도출하였다. 미디어 아트는 현대에 매체가 발달하면서 미술을 TV 나 모니터와 같은 미디어를 이용하여 표현하는 것을 말한다. 60년대 백남준, 빌 비올라 등의 작가들을 통해 부각되기 시작하여 최근에는 카페, 공원, 패션쇼, 공연 등 우리 일상에서 쉽게 접할 수 있다. 본 논문에서는 팝 아트의 다양한 기법이 미디어아트에서 어떻게 차용되고 영향을 주었는지를 백남준 작품을 통해서 분석하였다. 따라서 우선 팝 아트와 백남준 미디어 아트의 표현기법과 특성들에 대해서 각각 분석해보고 이를 바탕으로 이들이 가지고 있는 공통점을 찾아보았다. 백남준 미디어 아트와 팝 아트는 기존에 등한시 했던 다양한 일상의 평범한 것들을 소재로 사용함으로써 매체를 확장하였다. 그 다음으로 백남준 작품에 나타난 팝 아트의 특성은 관객의 참여다. 과거의 예술은 특정인만이 이해할 수 있고 누릴 수 있는 고급 문화였는가 하면, 팝아트나 백남준 미디어 아트는 다양한 계층이 특정한 지식이 없이도 즐길 수 있도록 예술의 대중화와 관객의 참여에 앞장선 예술사조이다.