• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• Journal of Fashion Business
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• v.14 no.4
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• pp.74-90
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• 2010

The history of contemporary art in the 20th century can be said the history of changes. Today the variety of objects destroy the boundaries of each genre. This study aims to understand the relationship between fashion and art that becomes closer by examining contemporary art in the Gwangju Biennale 2008 to enlarge the range of understanding of mutual communication between contemporary art and fabrics which are the object of fashion. The research method was to investigate the characteristics and expression methods of object fabrics shown in contemporary art through the review of papers published at home and abroad, related literatures, and Internet materials. Also, the meaning, technique, and methods of fabrics were analyzed from works introduced in the Gwangju Biennale 2008. In order to achieve this purpose, fabric was examined as the object of work in Gwangju Biennale 2008. As a result, it is found that fabric plays an important role in changing environment newly with more dynamic, abundant, and comfortable and softer feeling than any other artistic materials and enlarging the boundaries of artistic materials by exploring formative possibility. Furthermore, its multi-dimensional expression characteristic presents unbounded possibility. Fabric which has long formed close relationship with human life has taken its place as one genre now. It departs from the past principles of fabric handicraft and the restriction of a classical norm and becomes characteristic of very wide-ranging selection of materials and free expression. Its soft and warm texture provides emotional stability for a human. Although the peculiarity of fabric as an active concept to human environment and new materials and technique based on the aesthetic consciousness of a human rely on the high development of industry, it is significant that artists' liberation from their concept and material sense is accompanied by the expression of freedom.

• 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.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.1
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• pp.1-14
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• 2022

In the past 10 years, the luxury goods market growth has significantly outpaced other consumer goods categories. Its market value exceeded US $1.2 trillion globally in 2018. In response to this significant consumer demand, the product portfolio of luxury brands has been modified, as several products that previously were exclusive have now released lower-priced versions. This phenomenon is called new luxury. These new luxury products, however, have caused the democratization of the luxury that threatens the exclusivity of luxury brands. In this circumstance, luxury consumers are becoming disillusioned with the vulgarization of luxury goods and prefer exclusive luxury experiences. In order to keep pace with the changes in the luxury consumer needs and promote the brand image with a creative and luxurious connotation, luxury brands are increasingly associating with contemporary art through diverse channels. However, there is a lack of theoretical research investigating the main points to be considered when applying contemporary art to luxury brands and attempting effective brand communication. Therefore, this study aims to provide insights into the key issues for luxury brands when applying contemporary art for effective brand communication. An in-depth case study with the luxury fashion brand, Louis Vuitton, was carried out to better understand contemporary art applications and obtain analytical insights. Through the research, key insights were identified as follows: 1) setting a clear objective for art application based on an in-depth understanding for both the art and the luxury brand, 2) sending harmonized and coherent messages from all perspectives by using a variety of different communication channels, 3) providing a meaningful customer experience by considering the characteristics of contemporary art.

• 주택과사람들
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• s.199
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• pp.22-22
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• 2006

피카소 이후 대중에게 가장 사랑 받아온 현대 미술가 앤디 워홀(Andy Warhol). 액자를 에워싼 엄숙주의를 조롱하며 경쾌한 팝 아트를 선사했던 그가 돌아왔다. 인사동 쌈지길에서 2007년 1월 25일까지 펼쳐지는 전은 1987년 세상을 떠난 워홀과 21세기의 새로운 워홀을 위한 무지갯빛 헌사다.

• Korean Institute of Interior Design Journal
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• v.20 no.3
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• pp.59-68
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• 2011

As society alters and building ages, many industrial facilities lost their function and abandoned in central city areas, and sometimes creating many problems. However, many European countries successfully transformed those urban decay to vivid cultural hub. The purpose of this study was to analyze a concept and methods of converting idle industrial facilities to successful cultural spaces. A case study of Tate Modern, Baltic Center for Contemporary Art, and Ruhr Museum was conducted using literature review, site visit, and interview methods. Findings indicated that converting historically significant idle industrial facilities to cultural center had not only reused abandoned site but also helped regenerating adjacent urban areas. This article demonstrates the key factors of successful conversion strategies as convenience, participation, placeness, historicity, and accessibly; and thus an effort to actively enhance the strategic factors were demanded in future conversion projects. A continuous studies on exploring extensive cases in various perspectives are required for further generalization in future studies.

• The Journal of the Korea Contents Association
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• v.18 no.4
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• pp.245-253
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• 2018

The purpose of this research is to analyze how the transformation of Gwangju Biennale policy change their exhibitions. The research analyzed the Gwangju Biennale Declaration which announced upon the foundation of Biennale, as well as the following development plans to examine how the Biennale's aim has changed. There're any Biennale which has the declaration except Gwangju. We can see the keywords of art criticism at that time in the declaration and the innovations suggested on the 20th anniversary of Gwangju Biennale. This research shows the 20 years development of the declaration of Gwangju Biennale which visualize Gwangju spirit achieved more universal expansion by displaying artworks. The achievement of Gwangju Biennale which universalize the Gwangju spirit and expansion of community art parallelize the development of Korean contemporary art.

• The Journal of Art Theory & Practice
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• no.13
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• pp.133-156
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• 2012

This paper briefly charts the history of excrement as part of the late 20th-century art and explores ways in which excrement functions in the realms of 'High' art. From Piero Manzoni's to David Hammons' performance , excrement has taken a small yet distinctively important part in the development of contemporary art. In an attempt to challenge the hegemony of 'high' art, on the one hand, and resist the commercialization and fetishization of art, on the other, Manzoni allegedly offered his own "shit" preserved in a tin can and sold it at the price of gold of the same weight. Andy Warhol took the legendary Abstract-Expressionist painter Jackson Pollock as the object of parody, simulating Pollock's dripping action by pissing onto the canvas that had been primed with copper-based paint. Warhol's urination produced splashes and stains of iridescent colors just as the patterns on ordinary abstract paintings. In contrast to Pollock's masculine action, Warhol's pissing alludes to the artist's homosexuality. Excrements in art also provoked controversies, debates, and even acts of vandalism against the artworks. The works of Andres Serrano and Chris Ofili infuriated many Christians for the blasphemous use of excrement with religious icons. Politicians engaged in the heated debates on the use of public and national funds in support of some of the 'politically incorrect' contemporary art. In the midst of media sensation and criticisms, these works challenged the conventional understanding of artistic beauty. The preexisting artworks were also targeted. African-american artist Hammons assumed the role of spectator in by urinating on Richard Serra's sculpture in the street of New York City. It was an act condemnation levelled at the racist pattern of the way in which large portions of funds and commisions of "public" art tended to promote established 'white' artists, whose work or creative process often failed to reflect the actual public. The use of excrement in art is not unusual in contemporary art practices. With its subversive power, excrement plays an important critical roles in the shaping of contemporary art.

• Korean Institute of Interior Design Journal
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• no.10
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• pp.50-57
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• 1997

This study is concentrated on the specified relationship between the contemporary art and the interior design by investigation their situational connections through the expresison of their works. Each fields of modern art makes expressive situation more complicated and transforms its unintelligible and expressive outputs variously. The expression is the basis of the incompatibility of the modern art which features the ambivalence of the various tendency and the characteristics of the artists works as well as the disappearance of the typical genre of the art. The new expression such as the spatial recognition of the paintings and the participatio of the real, expreimental examples of the modern art enlarges its realm. The field interior design which has the close relationship with the fine arts need to make a new discussion or a theory among the progressive expression and the various tendencies of the art. Through this research, by reviewing the intermixed and expressed features of the artists works and designers projects which went far beyond the concepts and genre, the interrelationship between expression tendency of the contemporary art and the interior design has been specified.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.458-463
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• 2007

인터랙티브 아트는 최신의 기술을 이용하여 관객에게 예술적 경험을 풍요롭게 하고 컴퓨터를 통해 관객과 작품이 상호소통 할 수 있도록 실감현실을 제공하는 예술표현 장르이다. 테크놀로지의 진보에 의해 생겨난 사회, 문화, 예술에서의 혁명은 인터랙티브의 영향으로 개인과 다른 주역들 사이의 관계방식을 뒤섞이게 한 커뮤니케이션의 혁명이었다. 본 논문에서는 현대예술의 중요한 표현 매체 수단인 컴퓨터를 매체로 비전 시스템을 활용하여 제작되고 있는 인터랙티브 아트를 구현하는 실시간 영상처리(Real-time Digital Processing)에 대하여 알아보며, 특히 PC카메라로 관객을 인식하여 관객을 작품 속으로 끌어들여 소통하게 하고, 관객의 감정과 생각들을 동요시켜 관객의 반응을 피드백(Feedback)할 수 있는 작품의 제작방법을 제시한다. 또한 이 연구는 실제로 작품을 제작하였고, 컴퓨터를 이용하여 제작된 인터랙티브 아트 작품들을 유비적으로 논구하여 컴퓨터로 생성되는 이미지의 가상현실 문제가 현대미술에 미치는 다각적인 영향에 대하여 논의한다.