• International Journal of Costume and Fashion
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• v.5 no.1
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• pp.14-25
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• 2005

The objective of this study is to understand bodily extension and identity in contemporary fashion art through the analysis of 'the fashion acting on the body' among the fashion theory excluding body and the conspicuous works on the opening and covering images as a fashion art as a body-space'. This study also investigated identity problems where there are poles apart in opening and closure their bodies and body-space in which its clothing types were distorted by being de-bodilization out of the traditional and ideological expression method in contemporary fashion art from a opening and closure point of view. Image of opening and closure among body-space in fashion art can be classified into opposing structure of opening and closure. Destroying the boundary between bodily opening and closure for a primary function of clothing and dismantling the role and boundary between body and clothing, opening body-space in appearance as a reemergence of body image or the border between inner and outer are being ambiguous because of transparent material. Being representative work of this study opening body-space was expressed as an opening space image using transparency. On the contrary, closure body-space was isolated from external environment and confined in the certain space, which could limit or restraint body- action. Excluding boundary of body and clothing on the whole or in part, boundary of work becomes body-space. However, these were appeared to be a work inducing unlimited curiosity and meaning from the audience. The interpretation of artistic and body-space in fashion art are indicating the role and function of the fashion art exceeding the suggestible dimensions in the every day life of fashion. The body-space of fashion art showing similar aspect of body art today could be understood that it is substituted into an metaphorical, critical space by seeing it as a symbol system connected with social space. Therefore, contemporary fashion art should be interpreted as an equivocal space looking at the body-space with open mind.

• Cartoon and Animation Studies
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• s.33
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• pp.343-361
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• 2013

This paper derives the mutual relationship between film and installation art through specific case studies about the point of the intersection of the two genres. It needs to find the relationship between art painting and photography and the relationship of silent film and the relevance of the work of art in the 1920s. After painting over the installation exploring the relationship of art and through the mise en scene of the film, ie, the screen image of the configuration and deployment, or cinematic work of art for the film can be found in the application of practices. First, in Chapter 2, this study works of art practices through the analysis of film and the interaction between the two genres based practices for secure sex. In Chapter 3 the movie 'Wonderful Life' and installation art work "hand memory" through the analysis of the two cases specifically for the point of intersection analysis. 'Wonderful Life' and 'hand' Remember each subject and conceptual work in terms of 'memory' that it is represented on similar, but, film and installation art genre caused by the difference in the way the media represented by the results of the different forms of otherwise appear. If so, this study film and installation art practices through the comparison of cases to derive mutual relationship by analyzing two cases in detail what each of the different looks at whether any similarity in that.

• Cross-Cultural Studies
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• v.33
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• pp.193-239
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• 2013

A photograph, which was applied to contemporary art, plays a very important role in the whole of the multiplied and diversified contemporary arts today. The application of photos, which were shown in contemporary art following the 1950s, can be classified into five types according to role and function of a photo in the process of developing a work. However, this classification is shown a little ambiguously. That is because photos of being utilized by artists are indicated very diversely depending on their artistic strategy and situation. As the first type, a few painters utilize a photo as mirror of reality in order to materialize a challenging and revolutionary idea with going against traditional picture in their pictorial practice. As the second classification, especially American painters utilize a photo as material component of forming their picture like photo-montage or collage. The combined application of this medium is first doing genre de-construction and hybridization of post-modernism in the 1980s while ultimately aiming at social criticism or political satire. The third type implies particularly a case that avant-garde artists utilize a photo as evidence of a work. In this case, a photo is employed as evidence of a work, which disappears in the temporal space essentially like body art, land art, and performance. Also, as the fourth type is a case of utilizing a photo for artistic concept of a work, not pictorial practice of picture, it is utilized often as important artistic strategy of conceptual artists. The final type of utilizing photo is a case of applying photo as formative tool on behalf of dye-stuffs or crayon in order to record a section of reality, which always continues regardless of event or meaning any more, in the traditional picture. In this case, a work is indicated as a photo of having a form of picture, namely, as Forme-tableau. The main subject is indicated there as a daily case of being repeated always the extremely common and revived theme.

• Fashion & Textile Research Journal
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• v.13 no.4
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• pp.472-477
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• 2011

In the tide of globalization, culture products play pivotal role in effectively introducing our tradition and culture to the world. This research is about developing culture products using our traditional lady's art craft work to attain the purpose of modern application through recreation of tradition along with modern technology. First, the types of traditional lady's art craft work include pouches, wrapping clothes and other accessories made by sewing except costumes. The materials used were cotton, silk, ramie, hemp and decorating techniques involved were embroidery, patchwork, quilting, knot. Second, the purpose of this study is developing culture products with traditional images which also satisfy modern sense. Therefore, items that could be used readily in daily life were selected. Such items include bags, mufflers, name card cases, brooches. In addition, the Korean traditional Patchwork images which have both western-style and modern sense were selected out of the many kinds of traditional lady's art craft works. Third, cultural products (bags, mufflers, name card cases, brooches) were created by DTP in silk with sacdong and free-styled division Korean traditional Patchwork images and quilting technique. The significance of this study lies in examining the possibility of developing modern culture products using traditional lady's art craft work. A way to further develop this study would be to shed new light on traditional crafts and local cultural resources and actively carry on the study of cultural product development to provide the foundation for developing cultural products with modern applications.

• The Korean Journal of Archival Studies
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• no.52
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• pp.213-240
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• 2017

Catalogue raisonne is a holistic work record of artist which describes academically significant record information related to works by cataloging major works of an artist. Such catalogue raisonne is used as research material for exhibition planner and researchers and even used as fundamental material for winnowing out authenticity of work. Compilation of domestic catalogue raisonne is at an opening step, but in foreign countries, the art related institutions and artist foundations play key role in compiling catalogue raisonne of artists. Cataloge raisonne is an essential element of record about the art work and relevant information. However, as the description of catalogue raisonne can vary in accordance with characteristics of artist and art work. Therefore, this study has analyzed catalogue raisonnes of artists published in foreign countries, examined the characteristics and description element of catalogue raisonne in details and aims to contribute to compilation of catalogue raisonne of authoritative domestic artists.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.622-629
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• 2009

Modern figurative work is designed to have more creativity and characteristic traits by pure thought of the formative ceramic arts. In compliance with the demand which is various the design development could be satisfied an individuality and a taste is become accomplished. In this view, this study looks over expressive aspect of Cubism to present partition as a independent formative ceramic arts is able to contribute emotionally to our whole lives. In this procedure, this work is produced to express a three-dimensional effect and a spatial effect, approaching a figurative side. This is to overcome the limitation of Cubism art expressed in a two-dimensional surface in spite of its multi-dimensional observation of a given object. Accordingly, this study tries approaching pre-understanding of expressive aspect of Cubism which was the important turning-point in 20c art and expansion of the modern ceramic art field before producing the work. This study shows the possibility to become a creative and practical ceramic art work, approaching the new point of view breaking from the established conception. Consequently, the field of ceramic art could be expanded to a part of modern ceramic art as an object of study in art of life.

• Journal of Conservation Science
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• v.36 no.1
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• pp.37-46
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• 2020

It is difficult to predict the kinds of damage to contemporary art because of the diversity of materials and experimental techniques used. This makes it hard to conserve. Furthermore, the artist's intention in contemporary art is emerging as one of the important issues to be handled in conservation treatment. Thus, collaboration with various stakeholders such as the artists themselves, bereaved family members, and foundations have become more important than ever from the viewpoint of planning conservation treatment. The trustworthiness of conservation treatment would be significantly enhanced if conservation treatment reflected the understanding and respect of not only the appearance of the work, but also the social/cultural context inherent in the work. This should be done, in particular, through collaboration with the artists. In this study, various case studies at home and abroad were analyzed as to explore collaboration methods with various stakeholders for objective and trustworthy conservation treatment. Along the way, the study raised the need to establish new conservation ethics for contemporary art. It is expected that the outcomes of the study could be used as basic material to preserve the originality of contemporary artwork and to set the direction for conservation practice.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.147-154
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• 2007

This study places a great emphasis on the approaches to the space environment we inhabit, which I hope will contribute to generating a number of creative possibilities. Looking into 'site-specificity' which is characteristic by public art in public space method based on Daniel Buren's works 'in situ', this study analyze the relationship between the public space and works of art as a perspective of public art. The characteristics of his 'in situ' works that intervened works exist as space consisting of serial factors not simply art-object, and they suggest 'site Is a work'. The case study of Daniel Buren's public art project represented the results, the site marketing and serves as a guideline for the future of true Art/Space experiments. This study verifies the need for the arts and the space to work together in order to develop more creative and conceptual approaches to innovation and presentation. This cooperation is the continuation of space design by other means.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.8
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• pp.123-129
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• 2020

In this study, I want to find the meaning of art by revealing the common points of art in two books: Heidegger's The origin of the work of art and Heejae You's An outline of art. This is maybe not only two men's view but also the very basic concept of general art. This study is divided by three main parts. First, "How are language and thought connected?" and "How could the meaning of art be considered through this concept." Heidegger insists that language is the important medium that determines thought of 'being itself', not just a way of conversation. In An outline of art, Heejae You presents similar concepts. Second is the connection between Heidegger's "Art is basically a dichtung" and An outline of art's view. Dichtung is not simply reading the meaning of text or image, but also incorporates speculation about the part without being thought. Third, Heejae You's corresponding point about Heidegger's 'das besinnliche Wissen'. The main study finding is the commonness between Eastern and Western art by comparing Heidegger's art view and Heejae You's art view, who studied the ancient China's overall literature.

• Journal of Korean Philosophical Society
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• v.142
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• pp.295-321
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• 2017

This paper discusses Hegel's concept of Art criticism, focusing on the article "${\ddot{U}}ber$ die Bekehrten" in 16. Vol. of Hegel's Gesammelte Werke. Hegel is a theorist of the system of art, but also an art critic who actively participated in popular art practice. Until now, Hegel has been interpreted mainly as a theorist who usually constitutes the system of art. According to many interpretations, Hegel has been criticized for his theories frame interpretation of the Artwork compulsorily. But in this article we see another aspect of Hegel as an art critic. First, in this article Hegel shows as an art critic how romanticists distort the work with an emphasis on the theory. Hegel argues in his article written in early 1826 that romantic ironic theory does not help at all in understanding the "die Bekehrten" of Laupach. Whereas ironic theory emphasizes the contradiction between character and its action as the essential value of the work, Hegel interprets that the comic is at the center of the work, which lets the unessential sides of the unified character disappear, so that the unity of the character expresses itself. Hegel also interprets that the theory of irony represents the work of art for the scholars, which harms the objectivity of artwork and defends the artwork for the public. Second, Hegel began to apply the achievement of his criticism to his aesthetic lectures. Since 1826 Hegel has focused intensively on discussing two concepts, romantic irony and 'artwork for the public' in his aesthetics lectures. Thus, this article provides a basis for Hegel 's criticism of ironic theory after 1826 and the concept of artwork for the public. In this respect, we can confirm that Hegel has reinforced and extended his theories through his practice of criticism of concrete works of art rather than imposing systematic theories upon art criticism