• The Journal of Art Theory & Practice
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• no.3
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• pp.135-154
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• 2005

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of 'Korean Modernism in Art', which flourished in 1970s followed 'Informal Art Movement' in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of 'Korean Modernism in Art', while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as 'Korean Modernism in Art', and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of 'Korean Modernism in Art' especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

• The Journal of Art Theory & Practice
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• no.10
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• pp.47-61
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• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.

• Journal of Science of Art and Design
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• v.7
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• pp.105-127
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• 2005

This research is on the characteristics and roles of important cities of Germany based on the history of the modern art museum and its possessions. Especially, it is focusing on the modern art museums in the western Germany including Dusseldorf, Koln, and Frankfrut that have shown economic recovery from the Miracle of Rhine; the capital city of Germany, Berlin, as well as Munich, the second capital city of Germany. Here, it harmonizes with the tradition of the past and simultaneously, it spreads the concept and role of the new museum as a forerunner. After the WWII, this is the most active of supporting investment for art museums and authors from the economic development. Also, it represents Germany with its national promotion of culture and arts. The modern art museums of Germany emphasize the mission that they exist for the people and the nation as well as creation of new art culture. These art museums working for national culture and art development do not simply collect and preserve arts. They induce active involvement from the public and keep in mind of national objectives. Here, art museums become and educational setting for the people and a room for new art culture. This research is on Germany modern art museum and it is composed of important 'public institutions' of Germany that critically influence the growth of world-renown authors. After the unification of Germany, Munchen and the western region became an important places centering around new Berlin modern art museum. They are the best places that show the national objectives and regional characteristics. Also, there are art museum educational curriculum and open space for the people by explaining exhibition plans and contents. Furthermore, there are two characteristics of German modern art museums that are noteworthy. Firstly, there are Berlin's Neue Nationalgalerie, Munchen's Pinakothek de Moderne, and Dusseldorf's 'K20' (Kunstsammlung N-Westfalen K20) that are the roots of modern art. These modern art museums exhibit popular author's collection repeatedly. This has a tendency to standardize audiences' view or to make audiences bored. It is becoming more like a trend for art work to appear and disappear. Despite these problems, German modern art museums play a critical role for a new cultural art creation and for the national identity by attempting to show the works of domestic authors as well as an intensive collection of world-renown authors' works. Secondly, there is a role as a new art museum to work together with people. It strives to continuously educate difficult modem arts, exhibits in an open space stimulating interest, participation, and conversations. From these roles, Hamburger Bahnhof Museum fur Gegenwart or Dusseldorf's 'K21, Frankfurt Museum $f\"{u}r$ Moderne Kunst, $Kf\"{o}ln$ Museum Ludwig are given new attention. Here, they emphasize the importance of communicating with the audiences and provides experiences that are different from the original spaces by showing the architecture tecture style of the art museum. In conclusion, German modern art museums attempt various changes by connecting to art education. With art museum activities, there forms a connection between arts and the lives of people, and from this, creative cultural art focused on the art museum borns. This is not only limited to Germany, the U.S., etc. We, too, should pay attention to new art culture creation from changes of role and function of modern art museums.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.45 no.5
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• pp.180-191
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• 2008

An Adaptive Random Testing (ART) is one of test case generation algorithms that are designed to detect common failure patterns within input domain. The ART algorithm shows better performance than that of pure Random Testing (RT). Distance-bases ART (D-ART) and Restriction Random Testing (RRT) are well known examples of ART algorithms which are reported to have good performances. But significant drawbacks are observed as quadratic runtime and non-uniform distribution of test case. They are mainly caused by a huge amount of distance computations to generate test case which are distance based method. ART through Iterative Partitioning (IP-ART) significantly reduces the amount of computation of D-ART and RRT with iterative partitioning of input domain. However, non-uniform distribution of test case still exists, which play a role of obstacle to develop a scalable algerian. In this paper we propose a new ART method which mitigates the drawback of IP-ART while achieving improved fault-detection capability. Simulation results show that the proposed one has about 9 percent of improved F-measures with respect to other algorithms.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.2
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• pp.191-200
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• 2014

This study represents "an artialization of fashion" that may be regarded similar to art with a focus on luxury fashion brands. In the $20^{th}$ century, fashion began to share a similar language with art and became a central part in popularizing art. Fashion and art were drawn to each other in mutual fascination. Fashion studies arouse from disciplines like anthropology, sociology and art history as well as from aesthetic experiences and commercial characteristics. Fashion is very complicated phenomenon; therefore, a study on the artialization of luxury fashion brands needs to be approached for aesthetic and commercial aspects simultaneously. This study combines a literary survey with a case analysis of the relation of fashion and art as well as inquires on the artialization of luxury fashion brands based on discourses. The discourses are: first, fashion is an art, second, fashion and art differ in relation to the intention, third, fashion and art have mutual-borrowing. In view of the results achieved in this study, luxury fashion brands can achieve increased effectiveness through art. This study reveals the effects that luxury brands achieve through art versus a discussion on if fashion is art or not and if the relationship is moral or not.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• The Journal of Art Theory & Practice
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• no.1
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• pp.23-48
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• 2003

Art theorists support art productions by, introducing them to the public, explaining their meanings, and playing a crucial part in the development of art. These tasks seem like their opus. Because the principles of art production and the artistic languages are quite different from the ordinaries, we need 'interpreters' who can mediate us and the artists. Art works need interpretation. And the interpretation includes not only the characteristics of the given art work, but the customs, history, and the unique qualities of the race that produced the art work. The former director of the Korean National Museum, Choi Soon-woo wrote on the characteristics of Korean art as those that stem from the poised, arbitrary, and non-elaborate state of mind. The statement of the former Director of the National Museum has its weight far greater than just a personal opinion. In fact, we encounter the same resonance of this statement over and over reproduced in the mass media. The problem lies on that it deals with not only a single art work, but the entire Korean art. And going further, this kind of remarks are already infused into every sector of our thought on art appreciation. In this paper, I argue for a re-reading of the characteristics of Korean beauty based on two reasons. First, the characteristic of art work is contemporary, thus we cannot define the characteristics of entire Korean art in a few words without the context of the period of its making. Second, Director Choi defined the characteristics that I pointed out above as 'natural' and 'nature-friendly.' Nature or being natural is not an usual word that defines the characteristics of art work, which stands for the opposite side of the nature in the binary opposition of nature/culture. To delve into these misunderstandings of Korean beauty in the popular notions of Korean art, I suggest the re-reading of three major articles on Korean art: Ryoo Jong-yeol's "Korean race and its art," Ko You-seup's reiteration of Ryoo's thesis called "Discourses in Korean Art History and Aesthetics," and Yoon Hee-soon's antithesis of Ryoo Jong-yeol titiled "Studies on Korean Art History."

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.723-733
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• 2011

In contemporary art, the process of appreciating art works requires the dichotomy between traditional art and New Media Art. This difference can be witnessed in the contrasting ways of appreciating art works; in traditional art, a certain physical and esthetic distance is placed between viewers and works of art, and in New Media Art, art is appreciated by active involvement and communication. In other words, this disparity is based on whether viewers physically involve themselves in the completion of the art works. Perhaps contemporary art can be better understood and appreciated if a single primary keyword takes the center place of art appreciation rather than allowing the dichotomy. Thus, a new approach is welcome, where art appreciation is not adversely affected through such divided means based on the degree of active participation. This is not some new introduction of jargon but the reinterpretation of contemplation, the key word for art appreciation in the past, as the common key word for both conventional art and New Media Art.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.577-589
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• 2013

Fashion is traditionally perceived as a non-art in art philosophy; however, it is now being evaluated as art through the process of recognizing its cultural value and position. This study investigated the expanded concept of contemporary fashion in the same context of the expanded concept of contemporary art to present the possibility of fashion as art. This study enhances the artistic and cultural value, as well as the social function and position, of fashion by granting it the same status as art according to the concept of expanded contemporary art. For the research method, a literature review and a case analysis were conducted through specialty publications related to art history, aesthetics, and fashion in addition to regular publications, websites specializing in fashion, art museums and fashion style websites. The expanded aesthetic concept of contemporary art has embraced challenges to ideal beauty, production methods through interactivity, and expansion of art expression through mass media and industrial products. In the same context, the expanded aesthetic concept of contemporary fashion has established challenges to conventional beauty, the expansion of production methods, and the expansion and transfiguration of materials.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.2
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• pp.278-297
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• 2018

This study examines the concept and type of art marketing used by luxury fashion brands as well as to elucidate the productive outcome of art marketing based on art marketing case studies. The research methods adopted in this study were a literature review and case studies. The scope of the research focused on companies operating luxury fashion brands such as Louis Vuitton S.A., Kering Group, Prada S.p.A., $Herm{\grave{e}}s$ International S.A., Salvatore Ferragamo Group, Giorgio Armani S.p.A. and Compagnie $Financi{\grave{e}}re$ Richemont S.A.. The results showed that luxury brands using art marketing to enhance the competitiveness of the company by combining art and marketing mainly incorporate the following types of art marketing: art foundation and museum, art sponsorship, art collaboration, advertising campaign, exhibition promotion, and flagship stores. In terms of the outcome of art marking by luxury fashion brands, it was found that art marketing facilitates company activities help companies acquire a positive image from revitalizing culture and art, produces increased profits for the companies due to increased product sales as well as expands the marketability of respective companies through company PR and brand promotion, customer satisfaction by providing cultural space, artistic places and new experiences.