DOI QR코드

DOI QR Code

Convergence and Composite Phenomenon of Contemporary Crafts in the Loewe Craft Prize

로에베 공모전에 나타나는 현대 공예의 융·복합적 현상에 관한 연구

  • 김준용 (청주대학교 공예디자인학과) ;
  • 서성욱 (청주대학교 공예디자인학과) ;
  • 박중원 (국민대학교 도자공예학과)
  • Received : 2020.11.26
  • Accepted : 2021.01.20
  • Published : 2021.01.28

Abstract

Launched in 2017, Loewe Craft Prize is now establishing itself as the most prestigious craft contest in the world. In this study, we noted the background behind the Loewe Craft Prize, which started with a luxury brand, developing into the best contest covering all crafts in a short period of four years. In crafts with various contests around the world, Loewe Craft Prize's interest in craft, which has no limitations on genre diversity and materials, is a result of no contest. This is possible by forming and developing a complex contest, which is differentiated from the existing single-material contest and the distinct values of the crafts possessed by Loewe Craft Prize. In this study, the background of this result was the convergence of materials, the fusion of tradition and modernity, and the convergence of science and crafts, and the tendency of writers and the flow of modern crafts through their works. We also want to find out how the meaning of the expansion of the craft genre affects modern crafts.

2017년에 시작된 Loewe Craft Prize는 현재 전 세계에서 가장 권위 있는 공예 공모전으로 자리매김 하고 있다. 본 연구에서는 럭셔리 브랜드에서 시작된 Loewe Craft Prize가 4년이라는 짧은 시간 동안 모든 공예를 아우르는 최고의 공모전으로 발전한 배경에 주목하였다. 전세계적으로 다양한 공모전이 존재하는 공예에서 장르의 다양성과 재료의 한계가 없는 Loewe Craft Prize가 만들어 내고 있는 공예의 관심도는 어떠한 공모전도 이루어 내지 못한 실적이다. 이는 Loewe Craft Prize가 가지고 있는 공예에 대한 뚜렷한 가치관과 기존의 단일 재료로 구성된 공모전과는 차별화 된 복합 공모전을 형성, 발전시킴으로서 가능한 일이다. 본 연구에서는 이러한 결과가 나오게 된 배경인 재료의 융복합, 전통과 현대의 융합, 과학과 공예의 융합을 통한 사례들을 연구하였으며 작가들의 성향과 작품을 통한 현대 공예의 흐름에 대해 알아보았다. 또한 공예 장르의 확장이 가지고 있는 의미가 현대 공예에 어떠한 영향을 미치는지 알아보고자 한다.

Keywords

References

  1. H. Risatti. (2013). A Theory of Craft: Function and Aesthetic Expression. Mijinsa..
  2. J. S. Kim. (2019). A Study on the Convergence and Complexity of Modern Craft in Korea-Focused on the Exhibition of Cheongju Craft Biennale. Paper of masters degree. Dankook University, Yong-In.
  3. B. Choi. (2017). Tindk of Craft. Paju-Si, AhnGraphics Publication.
  4. J. Mairs. (2019). Jennifer Lee takes over Kettle's Yard in Cambridge. Retrieved from https://www.wallpaper.com/design/jennifer-lee-kettles-yard-exhibition
  5. S. S. Park. (2001). A Study on the Application of Mixed Materials to Contemporary Crafts. Paper of masters degree., Sookmyung University, Seoul.
  6. Sheila Loewe. (2020.10.02). Loewe Foundation, https://craftprize.loewe.com/en/craftprize2020#call-actions-how-to2020
  7. J. M. Seo. (2020). Six people on the world's top 30 list... a popular Korean craft. Retrieved from https://news.joins. com/article/23725606
  8. S. Y. Jung. (2018). [N Pick]Loewe. Retrieved from https://www.noblesse.com/home/npick/detail.php?no=105
  9. Korea Craft & Design Foundation. (2012). Craft Status Report. Korea Craft & Design Foundation.
  10. S. S. Chang. (2019) A Strategic Study for 'Craft Democratization' in the Era of the 4th Industrial Revolution: Through the Meaning Change of Craft. Doctoral dissertation. Hongik University, Seoul.
  11. Ministry of Culture, Sports and Tourism. (2012). A Basic Study on the Establishment of the Mid- to Long-term Promotion Policy for Craft Culture.
  12. J. W. Park, W. Xie, H. S. Ro, W. S. Kim. (2018). The Possibilities in Craft Creation through Convergence. Journal of the Korea Convergence Society, 9(1), 54-54.
  13. Blake Gopnik. (2017.06.05). Celia Pym Lets Her Craft Get Ugly and Crude-and Meaningful. Retrieved from https://news.artnet.com/opinion/celia-pym-loewe-chamber 980615.
  14. J. W. Kwak. (2017). Value of Craft. Loewe Craft Prize. Retrieved from http://www.designdb.com/?menuno=1283&bbsno=3285&siteno=15&ztag=rO0ABXQAOTxjYWxsIHR5cGU9ImJvYXJkIiBubz0iOTkxIiBza2luPSJwaG90b19iYnNfMjAxOSI%2BPC9jYWxsPg%3D%3D&act=view
  15. S. M. Kim. (2018). A Study on the Developme- nt of Convergence through the Current Status of the Craft Industry. The Korean Society of Science & Art, 35(59-68), 65-65.