• The Journal of Art Theory & Practice
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• no.13
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• pp.185-213
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• 2012

Charles Stankievech's 2011 installation LOVELAND includes a wall-sized screen depicting video footage of a barren arctic landscape in an enclosed room, painted and bathed in white light, that appears as an extension of the imaged environment. A melodic and industrial musical score emanates from multiple sound panels and as the music increases a cloud of purple smoke becomes visible on the horizon line in the distance and gradually advances toward the viewer until it completely fills the screen. The smoke then remains, rushing about madly and lapping at the border between the screen and the room before it suddenly subsides and the spectator is again left with the desolate landscape. The entire process takes a mere five minutes and then, fixed on an endless loop, begins again. This paper positions LOVELAND as an attempt to simulate a sublime experience of the end of the world through a transposition of the Arctic atmosphere into the gallery space. Encompassing a discussion of the historical and contemporary significance of the Arctic in popular culture, aesthetics and environmental politics, it is suggested that Stankievech employs an apocalyptic trope in reference to the unstable position of the North in the current political and ecological climate. Revisiting critiques of modernist exhibition practices and investigating the perceptual and temporal dimensions of the work, this analysis focuses primarily on the experience of the installation's spectator. Visually, aurally and phenomenologically immersed, the viewer is made subject to, and implicated in, the events unfolding on the screen and within the space. Due to the looping of the video footage, this paper argues that the apocalypse imaged in LOVELAND is presented as an endless event - incessantly enacted, yet infinitely deferred - and that the spectator is enveloped in an uncertain and unceasingly extended present moment.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.25-35
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• 2006

This study investigated the scheme for correctly making Korean fashion design known to the world. It attempted to increase the influence of the Eighteenth Century Costume in contemporary fashion. During the 18th century, France had an almost complete monopoly of fashion. Growing out the fairyland atmosphere of the French Court and often conceived of as ennui by personal vanity, this fashion was a product of an age which sought at any price to live life with supreme grace. Most of the special costume exhibitions in the Metropolitan Museum of Art are planned and directed by Polaire Weissman, Diana Vreeland, Richard Martin, Harold Koda. The Costume Institute has held exhibitions of the Eighteenth Century Costume several times such as "Museum Period Rooms Re-Occupied in Style," "the Eighteenth Century Women," "the Ceaseless Century," "Dangerous Liaisons," etc. Especially, the exhibition of "Dangerous Liaisons" is organized in ten parts such as the Portrait, the Levee, the Music Lesson, the Withdrawing Room, the Broken Vase, the Favorite, the Masked Beauty, the Card Game, the Late Supper, and the Shop. Using the eighteenth century as its touchstone, The Ceaseless Century proceeds differently, not seeking the short distance between a discrete present and the multiple past but rather showing the complicated navigation that comes of revivalism swing to and fro on the timeline of history and sensibility. The designers featured include Karl Lagerfeld, Gianni Versace, Vivienne Westwood, Jean Paul Gaultier, Christian Dior, Cristobal Balencicga, Christian Lacroix, Stella McCartney forChloe, Olivier Theyskens, Alexander McQueen, etc. Therefore, Korean designers should refrain from (Ed-confirm) the foreign collection without a clear purpose and should devote their effort to create with an active attitude.

• Journal of the Korean Society of Costume
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• v.66 no.1
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• pp.1-12
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• 2016

Najang was the central Seori, affiliated to the Ministry of War during the Joseon dynasty. The objective of this study is to research the existing authentic Najang costumes from the late-Joseon dynasty by examining factors, such as the composition of the costume, size, and method of creation, and attempt to replicate it. The Leipzig Grassi Museum in Germany possesses an official uniform of Najang from the late-Joseon dynasty, and we visited the museum in May of 2013 to examine it for the study. Written records, or Uigwe, and other pictorial data from the Joseon Dynastry describe the Najang wearing black or navy clothing with white decoration and pointy hats. The most notable characteristic of the Najang uniform is that it has the cotton cords pattern. The hat has a brass ball attached, which was worn with the ball facing the front in the early Joseon Dynasty, and was worn facing the back in the later years. They usually wore black head cloths (Heuk-geon), but would attach feathers on the black hats (Heuk-rip) for special occasions. The Najang uniform preserved in the Leipsiz Grassi Muesim does not exist in Korea. It is made of cotton. The cotton cord pattern of the uniform of Najang was made using single-ply cords and double-ply cords. The hat worn by Najang is in a form of a cone that becomes narrower towards the top or is in a form with wide and open end. It was made of oiled paper covered with hemp, and two circular metal disks were attatched at the rear.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.1
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• pp.654-663
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• 2016

Local art museums are being operated as non-profit organizations for the advancement of the collection, preservation, research, exhibition and education on art-related materials. The art museum is based on the physical environment of the means created by the human will. This study examined the visit satisfaction of the physical environment of the Gangwon Regional art museum. For the measurement, the Art Museum physical environment, kimhonghee (2012), was used as the elements, and Parasurama based on the SERVQUAL model was analyzed. The SPSS 18.0K statistics program was used to analyze the results, and the analysis of the elements of the physical environment of the art museums resulted in the surrounding factors, viewing factors, human factors, and facility factors. Regarding the level of satisfaction of the visitors, there was a difference in the level of satisfaction of the elements of the physical environment for each of the factors according to the gender, and it was confirmed that they generally have a positive (+) effect. The Gangwon Regional Art Museum is building a better physical environment to look forward and continue to communicate with the visitors.

• Journal of the Korean Home Economics Association
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• v.47 no.1
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• pp.45-54
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• 2009

The purpose of the study is to examine the characteristics of the ideal housing for the modern family suggested by the Home Exposition (September, 1915) under the Japanese colonial rule in the macroscopic context of social change and the microscopic context of family. Through this research, we expect to have a partial understanding not only of changes in the outward appearance of traditional housing spaces during the civilization period and the early Japanese colonial rule when foreign cultures began to be introduced but also of families'residential lives and the patterns of change in people's consciousness of housing. Major conclusions from the current analysis are as follows. First, there were some changes in family paradigm induced through a home exhibition. Second, the most important factor for an ideal housing was that it must be the source of harmonic and healthy family life. Third, the importance of an appropriate space norm should be emphasized by providing the minimum size of each room. Fourth, the significance of the housing values of the economy, convenience, and hygiene should be emphasized for the ideal housing. Lastly, it was implied that for an ideal housing, the social and psychological aspects of housing must be satisfied along with the physical aspects. The limitation was that the model of ideal family housing presented in the Home Exposition cannot exclude the characteristics of the colonial perspectives in that it was followed by the model for the Japanese families.

• Fashion & Textile Research Journal
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• v.19 no.4
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• pp.400-410
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• 2017

Bactria was the intersection of transportation between Greece-Iran and Central Asia at the Silk Road. This kingdom was Greek in all of its ruling classes. Because the Greek culture of Bactria spread to India and the east, Bactria was a very important place in ancient civilizations. The purpose of this study is to understand the life and the various cultures of Bactria and the influence of Greek culture on the costumes of Bactria. The research method was approached through the analysis of the empirical data. Data on antiquities were analyzed in European exhibition catalogs and secondary data collected from Internet. The results of this study are as follows: First, the original costume of Bactria was identified in two styles in the reliefs of the Persian Achaemenid. One is the tunic jacket sarapis that goes down to the knee and wide trousers with half-length boots. The other is the Scythian style trousers that looks like a barrel in a Sarapis. Second, in the Bactrian coin depicting the bust of the Bactrians, the hair styles and headgear of the Bactrian kings were analyzed. The Bactrians wore braids with short curly hair and wore Macedonian hats and helmets on them. Third, the relics excavated from the ruins of Ai-Khanuom depicted the forms of the ruling classes of Bactria. The dress styles and hair styles of gods and priests were imitating the form of the Greek costume as it is.

• The Journal of Art Theory & Practice
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• no.3
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• Journal of the Korea Furniture Society
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• v.24 no.1
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• pp.24-32
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• 2013

The aim of the present study was to investigate and analyze a tendency of the Philippines furniture which are not well-known in Korean market yet, but have been emerging as an OEM base, through the Manila FAME 2012. The study was conducted by visiting some furniture companies in Philippines for the active understanding regarding the current status of the Philippines furniture, in consideration of the material, functional and structural aspects of the goods which were exhibited on the Manila FAME 2012. The methods of the investigation were to research the related literatures concerned and materials had been collected over the internet, to visit the Manila FAME 2012 at work and finally to visit furniture companies in Philippines. Manila FAME has been based on the DTI (DTI: Department of Trade and Industry) through CITEM (CITEM: The Center for International Trade Mission and Expositions) since 1983. The exhibition whichincludes various sorts from furniture, traditional artifacts, leisure goods, gifts, jewelry and clothes is becoming such a potent force by integrating three exhibitions such as Manila Now, CEBUNEXT and Bijoux Cebu, what all had been held before the world economic downturn. The features of the Philippines furniture shown on the Manila FAME are as follows: First, they are focusing on the maximum of function to the exclusion of the decoration and they were mostly made of various kinds of mahogany like jambilina, acacia, bamboo, wisteria and Manila hemp growing up in the Philippines indeed and finally there were a lot of the simple designs of the curved line which were exactly the material nature of the wisteria and Manila hemp.

• Korean Institute of Interior Design Journal
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• v.25 no.3
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• pp.112-120
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• 2016

The purpose of the thesis is to explore ways of improving the quality of urban life by analyzing the Luzinterruptus's work looking for a new perspective on the relationship between environmental color and society. The street artist Luzinterruptus was born in Spain, is a leader in the field of New Genre Public Art brush on a canvas of light in the night. They should seek the views of other common color system and color environments. The method of research is urban design, we consider the concept of the public good understanding, and New Genre Public Art. It also analyzes the environmental color of Luzinterruptus to take advantage of the phenomenology by David Katz color classification. The scope of the thesis is focused on the analysis of the works featured in their website and webzine. Then select a sculpture installation information is stated on the environmental color of their work. The role of environmental color in their work is not an aesthetic experience of harmonious urban landscape was seeking Public Art. The citizens of the area and the installation work themselves. Also it listed as demolition after the exhibition to realize the difference with other people and take advantage to environmental color. Therefore, they the contemporary agenda in many part of narrative takes in the garbage or disposables that you can easily look at our surroundings, In addition, citizens are directly experiencing the fantastic custom-made lights and colors and objects of the oversize as a potential recalls memories. Thus, the use of environmental color comfortable life there is horizontal participation and communication of the 'citizens' critical perspective of the 21st century cumulative cities.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.