• Proceedings of the Korea Society of Design Studies Conference
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• 2005.10a
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• pp.122-123
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• 2005

• The Journal of Art Theory & Practice
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• no.10
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• pp.25-46
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• 2010

Street art operates within an already given visual order: the visuality of the modern city in which the regimentation of the image has become fully adaptive to-what Fredric Jameson termed-the logic of late capitalism. What is the relationship between street art and the hegemonic forms of the image dictated by the "city's rulers"? Does street art evoke an alternative kind of spectatorship? Can the unsolicited visual intervention in the life of the city open up an "optics" that resists the reifying patterns of the contemporary gaze? This paper follows Baudrillard's pioneering analysis of graffiti, arguing that the visuality of a certain kind of street images carries an important potential of challenging the hegemonic manner in which the contemporary image has come to dominate the field of vision.

• Journal of Science of Art and Design
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• v.2
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• pp.239-293
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• 2000

The paper aims to study how to describe the rigorous position on which semantic elements are laid, within the visual space. This purpose is, first of all, for the construction of visual syntactical semantics of the visual space. For this aim, the preliminary research begins with some definitions on : 1) visual space, visual design, visual syntactical semantic meaning, 2) position, sequence of position, 2-dim. sequence of position, and 3) 2-dim. numerical series of position, harmonious dynamic values. Here, The main issue is to define the position in general. To solve this problem, the researcher surveyed the positions on which the sets of pixemes are set up. The results are as follows ; 1. As far as the positions in visual space are concerned, they are the possible locations permitted in the visual patches. They are not the factual but the possible positions. 2.The position value that the sequential point has is not arithmetical but harmonious-dynamic, for it is not permitted for its own sake, but for the person, that is to say, for the viewer's visual perception. 3. The harmonious-dynamic value of positional sequence can be composed of the 2-dimensional successive numerical series which is, in turn, composed of the primordial 3 values x0, $\mu0$, y0. Here, the $\mu0$ is the harmonious mean value of x0 and y0. The x0 and y0 are, therefore, of the mutual dynamic relationship. 4. From this, the 2-dim general $\Delta-TABLE$ of the numerical series of position in visual design could be acquired through development of the primordial 3 values into the $X_i,\;Y_i$, orbit values.

• Journal of Korean Society of Archives and Records Management
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• v.11 no.2
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• pp.217-247
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• 2011

Archival arrangement is essential process to preserve the context of art archives creation and accumulation while classification is important to search archival collections by their topic, type or business process. But archival arrangement is not being taken seriously in most art archives in Korea. The purpose of this study is to analyse the arrangement and classification issues of art archives in Korea, and to suggest some principles and strategies for organizing art archives more systematically. This paper begins with identifying the difference between arrangement and classification and analyses some cases of visual and performing art archives in Korea and United States in terms of archival organization. Based on these analyses, it gives some suggestions for improving the quality of arrangement and classification in Korean art archives.

• Journal of Fashion Business
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• v.6 no.3
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• pp.94-109
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• 2002

The advent of the information age, advancement of the multi-media, and proliferation of internet are all ushering-in a new era of a cyber world. The artistic expression is unfolding into a new genre of a new era.. In the modern art, the boundary between the fine art and the applied art is becoming blurred, and further, distinction of fine art from popular art is also becoming meaningless. The advancement of science and technology, by offering new materials and visual forms, is contributing to the expansion of the morden art's horizon. As fashion illustration is gaining recognition as a form of art which mirrors today's realities, it has also become increasingly necessary to add variety and newness. Fashion illustration is thus becoming the visual language of the modern world, capable of conveying artistic emotion, and at the same time able to effectively communicate the image of fashion to the masses. The increasing awareness of artistic talent and ingenuity as essential components of fashion illustration is yielding greater fusion between fashion illustration and art & technology. This has resulted in the use of the advanced computer technology as a tool for crafting artistic expressions, such as fashion illustration, and this new tool has opened-up new possibilities for expressing images and colors. Further, the computer-aided fashion illustration is emerging as a new technique for expression. The concept of fashion illustration, history of fashion illustration from its incepton to modern date is reviewed and the simplicity has been researched throughout past studies published in Korean and overseas Journals.

• Proceedings of the Korea Society of Design Studies Conference
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• 2001.05a
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• pp.24-25
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• 2001

• Archives of design research
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• v.15 no.2
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• pp.71-80
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• 2002

The artistic idiom of expression in modern poster art make great use of visual illusion. These visual illusions serve carne in sharp relief the idea or concept the artist wishes set forth to the viewer. However we must look at area beyond the psychological impact of visual illusion to the evolutionary history of past and present poster art. The yes of such investigation reveals that the interest in the sub psychological impact of visual illusion is especially deep and reaches for back into the past in the West. Looking at the a of the 15th century in Europe, there is the tradition of drawing that gives the illusion of distance depth, arid substance know as trompe l'oeil, while actually utilizing a flat surface. On needs only look at the works of Arzhibauld, anamolphoses and the surrealism in the works Eschew to realize their influence modern poster art.

• The Journal of Art Theory & Practice
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• no.16
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• pp.201-224
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• 2013

The tradition of the representative art style in the Sinosphere, Shanshui hua, expresses the traditional representation of the harmony and principle of the universe. This tradition is reflected in the Chinese garden. These Chinese gardens were precisely the three-dimension representations of Shanshui hua, a visual form of abstract expression of the oriental philosophical thinking. This research determines and draws attention to the vestiges of the reflection of Shanshui hua in the European gardens through visual art and culture. It will also approach the two subjects, Shanshui hua and garden, from a transcultural view to integrally analyze visual art. The appearance of Anglo-Chinese gardens, reflecting Shanshui hua, foreshowed a big change in traditional European gardens. This is a concrete example of the transcultural phenomenon. This has formed the typical naturally curved English gardens in the gardening history. This also divided these English gardens completely from the symmetrical, geometrical French gardens. This study considers the influence and the reverberation of Shanshui hua reflected on European gardens in the European culture. The cultural exchange of European and Chinese styles in the 18th century left an impact on the European gardening style history. Finally, this study analyzes the origin of these Anglo-Chinese gardens and its content to approach it with a transcultural view as a research methodology.

• Journal of Science of Art and Design
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• v.10
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• pp.73-110
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• 2006

• Journal of Science of Art and Design
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• v.5
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• pp.131-158
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• 2003