Symbolism of Fashion Art in Contemporary Art

현대 미술에 표현된 예술의상의 상징성 연구

  • Huh Jung-Sun (Dept. of Fashion Design, Sangju National University) ;
  • Geum Key-Sook (Dept. of Textile & Fashion Design, Hong Ik University)
  • 허정선 (상주대학고 의상디자인학과) ;
  • 금기숙 (홍익대학교 섬유 패션디자인과)
  • Published : 2005.11.01

Abstract

As contemporary art tends to diverge from its fixed genres and intends to appeal to the public, fashion comes to contribute to the contemporary art area, by playing an important part in the creation of artistic value of art work. Nowadays, it is not unusual to see fashion work shown in an art exhibition parallel with art work, since some artists adopt costumes as the medium of their work in order to explore various means of expression. The occurrence of philosophical, sociological theories concerning human body parallelled with the prevalence of the post-structuralist ideas and occurrence of various styles of artistic expressions of body encouraged active research and attracted social attention to body. With such background, fashion art was formed by a means of the integration of body and fashion in order to create extreme artistic expression. 1 intend to investigate a variety of trends in fashion art from the viewpoint of body space. This study developed criteria for fashion image in contemporary art. Those criteria are based on the dichotomy that divides body into inner aspects and outer aspects. According to the criteria, Firstly, the extension type of body shape includes enlargement and reduction as its sub-types. Secondly, the opening-closure type includes opening type and closure type as its sub-types. Thirdly, the intensity type categorizes clothes into uniqueness and hybridity. Dynamism type classifies fashion art into fixation and moving. The various expressions of clothes type are interpreted as a means by which we can criticize many phenomena of modern society, such as loss of humanity, isolation of individuals, loss of identity, commercialism, and materialism. In the latter period of modern society, the integration of the double-faced nature of body and spirit was attempted and popular fashion was introduced into art in order to express desire, death, gender, identity, and sexual pleasure.

Keywords

References

  1. 양해림 (2000). 메를로 퐁티의 몸의 문화 현상학, 몸과현상학. 서울: 철학과 현실사. p.108
  2. 로널드 보그, 이정우 역 (1995). 돌뢰즈와 가타리. 서울 : 새길, p.145
  3. 오생근 (1997). 데카르트, 들뢰즈, 푸코의 육체. 사회비평, 제17호, 서울: 나남, p. 107
  4. Gilles Deleuze (1981), Franceis bacon: Logique de la Sensation. Paris: Editions de la difference, pp. 85-88
  5. 이정우 (1993). 미셀 푸코에 있어 신체와 권력. 문화과학. 제4호, 봄, 서울: 문화과학사, p. 96
  6. 이수균 (1999). 몸과 미술. 몸과 미술: 새로운 미술사의 시각. 서울: 이화여자대학교 출판부, pp. 11-12
  7. 이수균 (1999). 몸과 미술. 몸과 미술: 새로운 미술사의 시각. 서울: 이화여자대학교 출판부, p, 13
  8. 이수균 (1999). 몸과 미술. 몸과 미술: 새로운 미술사의 시각. 서울: 이화여자대학교 출판부, p, 10
  9. 저자 미상 (1993). What's all this body art?, Flash Art, No.168. Jan.Feb. pp, 50-53
  10. 이브 미쇼 (1999). 몸의 이미지: 오늘날의 영혼에 대한 질문. 몸과 미술: 새로운 미술사의 시각. 서울: 이화여자대학교 출판부, pp. 35-39
  11. Coulson, Clare (2001). Addressing the century: 100 years of art & fashion. Fashion Theory, Vol. 3. Issue 1. New York: Berg Publishers, p. 121
  12. Coulson, Clare (2001). Addressing the century: 100 years of art & fashion. Fashion Theory, Vol. 3. Issue 1. New York: Berg Publishers, pp, 121-122,
  13. Coulson, Clare (2001). Addressing the century: 100 years of art & fashion. Fashion Theory, Vol. 3. Issue 1. New York: Berg Publishers, p, 123
  14. 서승미, 양숙희 (2003). 형식주의 예술 의상의 미적 가치. 복식문화연구, 11(1). p. 125
  15. 양취경 (1998). 유행의상과 예술 의상의 조형적 특성 비교 : 미래주의 예술 의상을 중심으로, 복식, 38, P. 55
  16. Stern, Radu (2004). Against fashion: Clothing as art, 1850-1930. London: The MIT Press, p. 88
  17. Constantine, M., & Reuter, L. (1997), Whole cloth. New York: The Monacelli Press. P. 193
  18. Muller. Florence (2000). Art & fashion. London: Tames & Hudson, p. 10
  19. Biennale di Firenze (1996). Looking at fashion. Firenze: SKIRA editore. p, 28
  20. Goldberg, RoseLee (1988). Performance art. London:Tames and Hudson, P. 180
  21. Biennale di Firenze. (1996). Looking at fashion. Firenze: SKIRA editore, p. 29
  22. Muller, Florence. (2000). Art & fashion. London: Tames & Hudson, p. 11
  23. 윤동희 (2001). 미술과 패션. 월간미술, 7월호, 서울: 월간미술, p. 61
  24. Felshin, Nina (993). Empty dress-clothing as surrogate in recent art. New York: Independent Curators Incorporated. p. 26
  25. Williams, Gilda (eds)(2000). Fresh cream. London: Phaidon, p, 202
  26. Leventon, Melissa (2005). Artwear: Fashion and anti-fashion, New York: Thames & Hudson, P. 146
  27. Black, Sandy (2002). Knitwear in fashion. London: Thames & Hudson. p. 132
  28. Townsend. Chris (2002). Rapture: Arts seduction by fashion, Thames & Hudson, p. 78
  29. Leventon, Melissa. (2005). Artwear: Fashion and anti-fashion, New York: Thames & Hudson. p. 99
  30. Teunissen, Jose (2001). Made in Japan: The lattest fashion. Utrecht: Centraal Museum. p. 15
  31. Reckitt. H. & Phelan, P. (2001). Art and feminism. London: Phaidon, P. 145
  32. 저자미상 (1998). 미술과 패션. 월간미술, 4월호, 서울: 월간미술, P. 45
  33. 김홍희 (2003). 여성과 미술. 서울: 눈빛. p. 223
  34. 존 스토리 저, 박모 역 (1999). 문화연구와 문화이론, 서울: 현실문화연구, pp. 224-228
  35. 김원방 (1998), 잔혹극 속의 현대미술- 몸과 권력사이에서. 서울: 예경, p. 106