• Proceedings of the Korea Contents Association Conference
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• 2003.05a
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• pp.117-126
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• 2003

A semiotic approach to modern visual arts has emerged since French post-structuralism was introduced to Anglo -American academics by "deconstruction" or "postmodernism." It views a work of art as a sign, which is its methodical assumption ana at the same time makes its application more accessible In the milieu of modern visual arts'effort to be intimate to with general audience, modern art photography is now faced with the request to be a familar and universal domain instead of being left only in photo books as artistic and academic achievements More specifically, various photo images 1mm such visual media as newspapers TVs, and computer graphics to such megaexhibitions as "Gwangju Biennale," "Media City Seoul," and "Pusan International Art Festival," are main objects of s030y. A coherent and scientific analysis of visual semitotics is still on the way; however, it is an urgent task how to read and interpret a photo image with multiple meanings This study argues that visual semiotics can be a powerful tool to enhance the understanding of art photography. After all, semiotics is a product of age; we live in the age of legibility, that is, of reading the work of art well as the social events and phenomena.rk of art well as the social events and phenomena.

• The Journal of the Korea Contents Association
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• v.3 no.2
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• pp.1-10
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• 2003

A semiotic approach to modem visual arts has emerged since French post-structuralism was introduced to Anglo -American academics by "deconstruction" or "postmodemi sm." It views a work of art as a sign, which is its math odical assumption and, at the same time, makes its appli cation more accessible. In the milieu of modem visual arts' effort to be intimate with general audience, modem art photography is now fared with the request to be a familar and universal domain, instead of being left only in photo books as artistic and academic achievements. More specifically, various photo images puter graphics to such megaexhibitions as "Gwangju Biennale,. "Media City Seo ul," and "Pusan International Art Festival," are main objects of study. A coherent and scientific analysis of visual semitotics is still on the way, however, it is an urgent task how to read and interpret a photo image with multiple meanings. This study argues that visual seniotics can be a powerful tool to enhance the understanding of art photography. After all, seniotics is a product of age； we live in the age of legibility, that is, of reading the work of art well as the social events and phenomena. art well as the social events and phenomena.

• TTA Journal
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• s.152
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• pp.54-55
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• 2014

다빈치나 보티첼리의 작품은 잘 그린 그림이라는 것을 쉽게 공감할 수 있지만 피카소의 그림을 보면 어딘가 불편함을 느낄 뿐 훌륭한 작품이라는 생각을 하긴 쉽지 않다. 이러한 불편한 느낌은 잭슨 폴록의 작품에서 극에 달해 현대미술이 과연 미술작품으로 불릴 수 있는지에 대한 의구심마저 든다. 피카소의 작품은 최소한 그림처럼 보기긴 했지만 잭슨 폴록의 작품은 캔버스에 물감을 휘갈겨 뿌렸을 뿐 그 속에서 그림이라고 불릴만한 요소를 찾긴 어렵기 때문이다. 하지만 이렇게 혼란스러운 추상화도 과학의 눈으로 보면 놀랍게도 그림이 보인다. 과학은 예술과 서로 대척점에 있는 것이 아니라 예술을 이해할 수 있는 또 하나의 방법이다.

• The Journal of the Korea Contents Association
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• v.10 no.9
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• pp.496-503
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• 2010

The art education in the latter period of the 20th century was conducted in the same cramming method as education of expressionism and pragmatism from beginning to end, while post-modernism can be interpreted as a viewpoint of reflecting the diversity, popularity and needs of the era. Under such circumstances, this research is aimed at looking for an educational method that can reflect the educational method of this present period. Thus, this research is trying to analyze the works of some artists showing a variety of styles of the post-modernism period and to inquire into a new direction at a viewpoint of the post-modernism where divers cultures co-exist. This research considered these artists' works as the objects for comparison because there exists an aspect of something in common in that there are more diverse-style-based expression in the post-modernism art education though their subject and format are different individually. Therefore, this research is conducted at a viewpoint of assisting in the understanding of more diverse style-based painting in the post-modernism education.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.50-61
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• 2014

Fashion has been compared to art since Japanese avant-garde fashion designers expanded the thoughts about conceptual fashion in late 1970s. The fashion designers focused on the materiality of fashion textiles by placing more importance on it than the shapes. This bears a striking resemblance to contemporary art of 1960s and 1970s as many artists used soft materials like felt, fabric, rubber to emphasize themselves. This study establishes the materiality of fabric, which can be found in both contemporary art and fashion. The classification of materiality consists of flexibility, humanizing and temporality. In this work, there is a significant disparity between contemporary art and fashion.

• Archives of design research
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• v.12 no.1
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• pp.109-118
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• 1999

The present. study analyzes the formative languages in works adopting the De paysementtechnique in contemporary art centering on surrealism and is concerned about the methodology of this technique in integrating image compositions. The Depaysement technique widely adopted in many art works up to the contemporary art since the end of expressionism were dassified into seven methodologies for analysis. The results indicate that the Depaysement technique presents a distinctive methodology of creation to represent the inner spiritual qualities. Therefore, it is expected that further studies on expression of this Depaysement technique will be of great help in expanding ideas in Art in the future.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.10a
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• pp.162-163
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• 2005

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.05a
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• pp.110-111
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• 2003

• Korean Architects
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• no.7 s.351
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• pp.106-110
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• 1998

• Korean Architects
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• v.5 no.2 s.18
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• pp.58-59
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• 1970