• 한국실내디자인학회논문집
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• 제14권1호
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• pp.11-19
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• 2005

As the world becomes more globalized thanks to the fast development of the Internet, a national identity becomes more important than ever before. Based on this, the study searches for the identity of modern American architecture through exploring the influence of modem American fine arts on the contemporary architecture. It was found that the concepts and the attributes of modern American fine arts obviously transferred into the contemporary architecture. The main concept was elimination of any kind of illusion for maximization of reality, and it was rooted Into American culture, the way of life and thinking. With the concept, the attributes were divided into two extreme poles: materiality and morphology: the former was evolved from Abstract Expressionism and Post-Minimalism and transferred into Los Angeles Avant-Garde architecture; the latter was from Pop Art and transferred into Postmodern architecture and Pop Architecture.

• 미술이론과 현장
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• 제15호
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• pp.31-49
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• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• 미술이론과 현장
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• 제9호
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• pp.123-150
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• 2010

In his non-hierarchical approach to art making, Robert Irwin questions how art is made. In the process, he seems to come down on both sides of the Modernism versus Postmodernism debate. Insofar as he wants to advance the avant garde tenets of modern art, he can be thought of as a modernist. But insofar as he denies Modernism's claims for transcendental status, he can be thought of as a postmodernist. Irwin's light and space environments, in particular, are conditioned by their basic attachments to their surroundings. They reveal the commonplace, but largely overlooked, richness of visual perception. By encouraging his viewers to open their eyes, Irwin wants them to engage in an act of looking, one that manipulates the basic syntax of seeing. This paper discusses Irwin's contributions to the art of his time (basically the transitional period between Abstract Expressionism and Minimalism) using as an example a light and space environment he created as the backdrop for the "First National Symposium on Habitability." This work was later reprised in 1980 as an independent installation. These works are examined to show how Irwin's art displaces modernist notions of authoritative (and authoritarian) quality with postmodernist ideas of direct (and demotic) value.

• 복식
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• 제56권5호
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• pp.1-12
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• 2006

The result of this study can be summarized as follows. First, the result of the examination about the theoretical background of the monochrome was influenced by the minimalism and modernism, and consequently the abstract expressionism which is the main trend of the modern painting was formed basing upon the plane feature and unicolor character, and it was recognized that the custom of the plane feature was implied into the monochrome. Second, the aesthetic characteristics such as the beauty of body, beauty of simplicity, beauty of nature, beauty tradition, and beauty whole of the Korean monochrome paintings in 1970s were expressed in the modern fashion as follows. The beauty of body can be told as the dress which exposes the body or See-through look in the modern fashion. The beauty of simplicity is expressed as the most simple and non-decorating minimalism element. The beauty of nature is expressed by using the natural and convenient color without any artificiality. The beauty of tradition is expressed in the Han-bok natural white material. The beauty of whole is easily expressed by using repeated print, partition or overall harmonized beauty.

• 비교문화연구
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• 제45권
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• pp.33-54
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• 2016

본 연구는 프랑스의 시인 기욤 아폴리네르, 폴 엘뤼아르와 한국의 이상의 시에 나타나는 상형적인 시어들에 대한 비교 분석이다. 그들은 글꼴이나 문장의 모양과 행간을 회화적으로 배열하는 타이포그라피 기법을 응용하고, 알파벳의 철자, 수학적 기호, 원이나 점, 선 등의 도형적 요소들을 혼용하여 특징적인 시화를 펼쳐 보인다. 시각적인 서정으로 평가되는 그들의 작품은 반시어들이 조화를 이루고 있으며, 기존의 시어나 문법의 규범을 벗어난 글자와 기호들의 자유로운 구사는 병렬적이고 대립적인 특성을 보여준다. 그들의 상형적 시어들은 공간의 확장과 같은 역동적인 이미지를 불러오고, 이상의 기하학적인 기호들을 응용한 상형적 시어들은 형이상학적이고 추상적인 그림시로 형상화된다. 결과적으로, 우리가 분석한 세 시인들의 상형적인 시어들은 조형의 미학으로 귀결된다. 변형된 글자와 암호와 같은 기호의 회화적 구성은 시적공간의 확장이 불러오는 입체적 미학을 구현하고 있다. 나아가 세 시인의 상형적인 시어들은 프랑스와 한국의 현대 시문학에 파격적인 표현기법으로 당대의 새로운 예술정신과 해방정신을 실현한 전위적인 시적 언어들로 평가할 수 있다.

• 디자인학연구
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• 제16권4호
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• pp.163-172
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• 2003

캘리그라피 기법은 요즘 동서양을 막론하고 다양한 분야에서 활용되어지고 있다. 광고, 패키지, 심볼마크, 로고타입, 영화포스터 등의 그래픽디자인 분야에서 심지어 현대추상회화에 이르기까지 현대인의 시각환경을 망라하고 있다. 이는 기호 및 운동표현으로서의 그 역동적이고 암시적인 표현력이 재인식되었기 때문이다. 기계적이고 인위적인 디지털환경, 획일적이고 공식화된 모더니즘적 경향에 대한 현대인의 이탈심리의 작용으로 동양적 신비감과 정서적 친근감을 갖춘 새로운 표현양식으로서 캘리그라피 기법에 주목한다. 따라서 본 논문은 캘리그라피의 역사를 조명하고, 특성을 이해하며, 현대회화와 그래픽디자인에 확장된 가치를 모색하여 시각언어와 표현양식의 확산에 기여하고자 한다. 또한 동양화적 기법과 재료, 캘리그라피 기법을 혼용한 캘리일러스트(Calli-Illust)에 대한 개념의 정립과 활용 가능성에 대해 탐색하여 일러스트의 영역을 확장하고자 하였다. 그 결과를 보면 캘리그라피 기법은 추상표현주의 회화의 한 양식으로서, 새로운 조형세계의 영역을 확장시킨 공헌을 하고 있으며, 다양한 디자인 환경 속에서 비판 없이 수용되었던 서구의 이성적, 합리적 그리고 기하학적인 기능주의 디자인 양식의 한계점을 타개할 새로운 표현양식으로 발전시킬 필요가 있음을 도출하였다. 또한 이전까지 캘리그라피의 개념에 포함되어 이해되었던 캘리일러스트에 대한 개념과 정치를 확보할 수 있었다. 캘리일러스트에 대한 연구는 이제 시작에 불과하다. 앞으로 보다 심도 있고 폭넓은 연구가 진행되어 커뮤니케이션 디자인에 다각적으로 적용될 수 있게 되길 기대한다.

• 복식문화연구
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• 제9권3호
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• pp.511-522
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• 2001

Various art trends of the 20th century that contributed to the creation and development of abstract art had showed the transition from the convention of mere representation of the object to the formative sensitivity emphasizing self-expression. Noticing that such trends had influenced the fashion industry to move toward a free and individualized style, this study attempts to express the formative way from the existing art to wear, especially, based on early 20th century paintings, 5 casual wears were made which applied korean materials and silhouettes that are functional, sample and show traditional korea beauty. The purpose of this study is to search for a solution to expand the world market by producing dresses utilizing our own tradition that can be distinguished in the global market and that derive inspiration from the formative of the sensitivity of the paintings during the first half of the 20th century. It also aims to let national economy as a high-added industry. The result of this study are as follows: First, the expression method and element of various styles of art such as Fauvism, Expressionism and Cubism, during the period of transition to abstract art, clearly presented the direction toward the artistic liberation and made possible a new formative artistic expression of dress in the early years of the 20th century. Their ideas inspired the dress designers of the time with a reformative and creative sense of fashion and have greatly contributed to the development of a new era of uniqueness and individuality. Second, the color and the simplicity of form of the early 20th century paintings are suitable fro utilizing a motive of functional dresses and express unique and concise modern beauty. Third, it was confirmed that utilizing our tradition in contemporary dress can be a significant method of creation in which the uniqueness and creativity of Korean dress can be expressed, distinguishing it on the global scene, as well as inspire the originality and pride of our culture. Fourth, a possibility has been discovered. It is the functionality and uniqueness of aesthetic expression technique of the contemporary arts that can contribute to the fashion of tomorrow, by searching a modern fashion which was affected by the past and also by taking a look at the trend of modern fashion as the same field as casula wear.

• 디자인학연구
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• 제14권3호
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• pp.197-210
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• 2001

고대로부터 현재에 이르기까지 금속공예에서 주재료로 사용되는 물질들에는 물질 자체가 지니고 있는 상징성과 특수한 의미들이 내재되어 있다. 이러한 상징성과 의미들은 금속공예를 해석하는 기본적인 단초가 되어, 의미소가 된다. 일반적으로, 금속공예에 사용된 물질들은 진귀한 물질들로서 금과 은이 대부분이었고, 여기에 어울리는 보석들이 사용되었다. 그러나, 최근에는 그다지 귀하지 않은 유리, 철, 알루미늄 등 일상의 물질들이 여기에 더하여 사용되는 경우도 있다. 몇몇 작가들은 의도적으로 이러한 물질들을 사용하고 있으며, 그들에 의해서, 이러한 물질들만이 드러낼 수 있는 특수기법이 개발되고 있다. 이러한 기법들 중에는 재료자체의 물질이 지니고 있는 질감이나 물성들이 전혀 다른 물질처럼 보이게 하는 경우도 있다. 다시 말하자면, 원형적인 물질 언어를 교란시켜서 새로운 물질처럼 보이게 하여 표현의 가능성을 확대 하고 있다. 이러한 예로서, 준 쉬와르츠는 주로 전해주조, 박공, 에나멜 산화기법, 녹청 착색 .. 등 매우 다양한 금속공예의 방식을 적용하여 작품을 제작하는 작가이다. 그의 작품은 일반적인 금속과는 달리, 형태가 매우 추상적이며, 다양한 질감이 드러나 있으며, 규모는 조각처럼 스케일이 크고, 표면처리 방식은 대단히 회화적이다. 또한 외형은 대단히 구조적이며, 작가가 개발한 특수한 기법에 의한 터치가 드러나 있다 이러한 터치는 상징성이 짙은 추상표현주의적인 색상과 이질적으로 절충되어 있다. 나아가서, 프리미티비즘의 원생적인 분위기에서부터 중세의 장식적인 일면, 미니멀한 특성과 카오스적인 일면들까지 혼재해 있다. 작품을 구성하는 이러한 요인들은 금속의 고유의 의미와 직/간접적으로 연결되고 있으나, 특수하게 사용된 기법과 기초 물질언어가 혼재해 있어서, 그 원형적인 물질로서의 의미는 교란되어 있다. 이렇게 교란된 물질언어는 시각적인 특수 효과를 이룩하여 일루젼으로 작용한다. 그것은 금속공예의 표현법을 더욱 풍요롭고 무한하게 만드는 요인이 되어 다양한 해석을 가능하게 한다

• 비교문화연구
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• 제39권
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• pp.219-240
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• 2015

The following summarized argument is the comparative research of the characteristics of automatic techniques demonstrated in the mixed expression of foreign language and Korean language in Lee Sang's poetry. Our research examines the use of foreign languages such as French and English shown in Lee Sang's poems, and then, recognized the characteristics of the automatic techniques demonstrated by the parallel marks and signs of Korean language. The automatical technique's element that Lee Sang made use of is a language of loanblend, consisting of free use of French, English, Japanese and Korean. The mathematical and geometric figures such as numbers and shapes can be seen as an important poetic language. In Lee Sang's poetry, the French words "AMOUREUSES" and "ESQUISSE" and English words "I WED A TOY BRIDE" are considered as parts of Korean language. The use of foreign language is seen by the readers as encodes of a unacquainted language and it provides rhetorical characteritstics that gives off profanatory feeling about the poetry. The poet is seen to have created a new poetic language that excess the standards of the limitations that Korean and Chinese marks have through the application of polysems and poliphonyic effects that foreign languages have. The mathematical and geometric signs are Lee Sang's special experimental elements that can't be seen in other literary poetries. They are conversational and the requirements for the expression of abstract artistry and esthetics. The language used in his poetry are external to those traditional poetic languages and they mix freely with other poetic elements to become an automatic technique used in the writing. Lee Sang's techniques can be considered as the pursuit of defiance and departure, freedom about literature and artistry. Moreover, the avant-garde expressionism is the literary form that demonstrated the sense of inferiority, nervousness and loneliness risen from physical pain and the abnormal relationship with women in the poet's personal life. The technique shows the longingness of the the Western culture and literature that lay dormant in the poet's consciousness and it is also the expression of ingenious that created the new guide in the Korean poetic literature, exceeding the European surrealism. Lastly, the automatic technique images that are demonstrated by the mixture of the foreign languages and Korean language are the creations of an innate poetic language and poetic literature that can't be imitated by anyone in Korean literature.

• 조형예술학연구
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• 제3권
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.