• Journal of Conservation Science
• /
• v.37 no.5
• /
• pp.464-476
• /
• 2021

Various materials, depending on the personality of the artist, are required for contemporary art. Thus, it is necessary to decipher the expressive intentions of the artist and characteristics of the materials required for the conservation of such art. The purpose of this study is to analyze the causes underlying the deterioration of sculptures made from soap and to determine the ideal hygrothermal environment required to stably exhibit and store these artworks. Furthermore, we aim to maintain the long-term structures of the artworks in accordance with the changing expressions and intentions of the artist. Our analysis confirmed that the extracts of the soap sculptures were composed of glycerin and that the sculptures were sensitive to humidity. Moreover, we determined that a relative humidity (RH.) of approximately 60~65% made for an appropriate hygrothermal environment required to preserve the sculptures. We also preserved each work in various ways by applying appropriate preservation treatment, and found that the optimum preservation environment for soap sculptures was a temperature of 20±2℃ and a RH. of 60±5%.

• Journal of Conservation Science
• /
• v.37 no.5
• /
• pp.516-524
• /
• 2021

The 'artist's intention' plays an important role in the conservation process of contemporary art. Accordingly, the information on artworks owned by the artist, their bereaved family members, and foundations that have decision-making power is important. The artist's interview is the kind of data that can clear 'artist's intentions' to ensure reliable conservation treatment can be carried out even after the artist's death. Therefore, this study attempted to use information from the artist's interview on the type of wood in the manufacture of the filler required for lifted and separated bark conditions in the conservation process of wooden artwork in the National Museum of Modern and Contemporary Art. While the conservation treatment resulted in the stable preservation of the bark of artwork, an analysis of the wood confirmed that the information in the artist's interview was not true. Consequently, we suggest that attention must be paid toward the information provided by artist, their bereaved families, etc. Based on the result of this study, this is also expected to help preserve upcoming artworks with similar bark conditions.

• Journal of Conservation Science
• /
• v.34 no.5
• /
• pp.319-331
• /
• 2018

The collection of the National Museum of Modern and Contemporary Art, Korea, features a sansu folding screen that was created in 1940 to commemorate the sixtieth birthday of Soseok Kang Jin-Koo. It was created by six oriental painters, who were among the ten best painters in that era. The folding screen has been previously repaired and restored; however, owing to damage such as twisting of its wooden frame, abrasion, and moisture stains, rigorous conservation treatment is required. Hence, scientific research was conducted to analyze the textile, paper and pigments employed while creating the folding screen, to identify the associated material properties. Results showed that the textile used in the screen's picture and janghwang comprise synthetic fibers and natural fibers such as cotton and silk. Various types of papers were used in the folding screen, such as those from mulberry, herbaceous, and coniferous fibers. Furthermore, calcite deposits were found on the base of every picture, and certain colors employed by the artists appear to be produced from different pigments.

• Journal of Conservation Science
• /
• v.36 no.1
• /
• pp.37-46
• /
• 2020

It is difficult to predict the kinds of damage to contemporary art because of the diversity of materials and experimental techniques used. This makes it hard to conserve. Furthermore, the artist's intention in contemporary art is emerging as one of the important issues to be handled in conservation treatment. Thus, collaboration with various stakeholders such as the artists themselves, bereaved family members, and foundations have become more important than ever from the viewpoint of planning conservation treatment. The trustworthiness of conservation treatment would be significantly enhanced if conservation treatment reflected the understanding and respect of not only the appearance of the work, but also the social/cultural context inherent in the work. This should be done, in particular, through collaboration with the artists. In this study, various case studies at home and abroad were analyzed as to explore collaboration methods with various stakeholders for objective and trustworthy conservation treatment. Along the way, the study raised the need to establish new conservation ethics for contemporary art. It is expected that the outcomes of the study could be used as basic material to preserve the originality of contemporary artwork and to set the direction for conservation practice.

• Journal of Conservation Science
• /
• v.33 no.5
• /
• pp.371-380
• /
• 2017

To investigate the pigments used in modern and contemporary oil paintings, thirty-two paintings by Jiho Oh and Bonung Gu were selected. The white pigment found in the ground and painting layers was identified as lead white (hydrocerussite), zinc white (zinc oxide), titanium white (titanium dioxide in anatase or rutile forms), calcite (calcium carbonate), and barite (barium sulfate). Further, this indicated that pigments differ according to the artist and date of the painting's creation. However, both Oh and Gu used zinc white during the modern and contemporary period, while lead white was replaced by titanium white, barite and calcite. Compared with the overseas studies on pigments and oil paints, the change patterns of pigments were the same with them but the periods of the use were partially different. It seems to be due to the fact that South Korea is linked to the historical background of the art material which was imported from Japan instead of Western countries. Therefore, it is inevitable that any change in the white pigments used for domestic oil paintings occurred at a different time from global transitions. If the results of this study are used in the analysis of art works it is suggested that a database recording such aspects as material properties of oil paints, artistic techniques, and chronology would become important for future conservation science and the study of art history.

• Conservation Science in Museum
• /
• v.27
• /
• pp.23-38
• /
• 2022

The standing plaster figure entitled is an early work from Choi Man Lin's 'Eve' series. It reflects the aesthetics of abstract sculpture in the period following Korea's liberation from Japanese colonial rule. Modern and contemporary sculptures can be made from a wide variety of materials, so the particular selection of materials and expressive techniques are indicative of both the artist's intentions and the zeitgeist of the moment. In this regard, the materials and production techniques used in provide important basic data for the chronological study of Choi's artistic development. In this study, scientific analysis was conducted to reveal the production techniques used in the work. The scope of appropriate conservation treatment was decided through consultation between several people with decision-making authority. First, the internal structure was inspected using X-CT scanning, and a material analysis was conducted to identify the formal characteristics, materials, and production techniques found in the work. As the analyses revealed the work to be in a relatively stable state, only minimal conservation treatment was applied based on the opinions expressed by the institution housing the work, by a former assistant of the artist, and in an interview granted by the artist during his lifetime.

• Journal of Conservation Science
• /
• v.33 no.2
• /
• pp.85-95
• /
• 2017

Oil paints are mixtures of pigments, drying oils and additives. In the past, oil paints were mainly composed of inorganic pigments. However, recently color matching techniques vary depending on manufacturers due to the development of various kinds of synthetic pigments. Despite this, most studies of oil paints in South Korea are about durability tests, and there is no comparative study on the characteristics of commercial oil paint components. This study aims to compare the properties of four different kinds of oil paints from four manufacturers, which are the most popularity used. Extender pigments in oil paint from C brand differed from that of other manufacturers and various kinds of coloring pigments were differently used depending on the oil paints and the manufacturers. The mixing ratios and the pigment types differed even for oil paints having the same product name. It is assumed that these differences could affect the colors. The result of this study is expected to contribute to the analysis of artworks through the accumulation of scientific data of oil paints. In addition, it can be utilized as a scientific basis for art history studies, including the characteristics of artists or production year.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
• /
• v.37
• /
• pp.107-130
• /
• 2008

The purpose of this study is to provide the guideline for the loss of documents relating to the delivery of documents under Letter of Credits transactions. If the documents are lost while in transit from the nominated bank to the issuing bank neither the nominated bank nor the issuing bank is liable as Article. 35 of the UCP600. Normally such matters are settled amicably between banks and problems are only likely to give rise to litigation where this cannot be done and the applicants does not want the goods or take delivery or sell them on because of the loss of documents. UCP 2007 Revision stated that a presentation is complying and forwards the documents to the issuing bank, whether or not the nominated bank has honoured or negotiated, an issuing bank must honour or negotiate, or reimburse that nominated bank. Accordingly, the applicant liable to the issuing bank for any damage sustained as a result of the loss of document. In such circumstance it might be possible to obtain a second(duplicate) set of documents that were sufficient to satisfy the applicant that the document were compliant and enable the applicant to obtain deliver of documents or comply with the terms of a sub-sale. If the applicant does not want the documents presented, no the less, the bank might find it difficult to prove that complaint documents had been presented and, subject to the terms of arrangement with the buyer, could be liable for damage sustained by the applicant as a result the loss of the documents.

• Journal of Conservation Science
• /
• v.34 no.5
• /
• pp.379-385
• /
• 2018

This study examined the condition of degraded plastic artifacts and conducted materials assessments for conservation treatment. The properties and bond characteristics of five types of adhesives(EVA, PVAc, Cyanoacrylate) were evaluated to select the adhesive most suitable for conservation treatment. The degradation of plastic artifacts caused cracks, peelings, and surface warping. According to the FT-IR analysis, the synthetic resin used in the artifact was estimated to EVA type. The properties of the adhesives were evaluated through acidity, and hardness measurements. The results showed that acidity varies with the type of adhesive, and that the hardness of PVAc was higher than those of EVA. On comparing the bond characteristics of the samples after artificial degradation, it was found that PVAc and Cyanoacrylate increased the chromaticity and hardness of the samples, while EVA was the most stable with relatively little change. Thus, EVA was confirmed to be the most suitable materials for conservation treatment of degraded plastic artifacts. In this study, as the experiment of treatment materials based on actual artifact, it is expected that it could be used a basis research for conservation treatment of plastic artifacts.

• Korean Institute of Interior Design Journal
• /
• v.24 no.6
• /
• pp.192-201
• /
• 2015

This research aims to find planning issues on reuse of an industrial heritage as a cultural cluster and to suggest planning factors which can be referred when designing the similar cases. Analysis standards were formed through reviewing of precedent literatures, and the selected cases(i.e Shanghai M50, Yokohama BankART1929, and Incheon ArtPlatform) were analyzed to identify both physical and nonphysical planning characteristics. By combining analyses, the following results were obtained; (1) The demand and supply of the arts coexist in one place, and the studios and galleries are designed with high ceilings; (2) The regional and historical characteristics are revealed from preserving major architectural elements of previous buildings, and open spaces are provided to promote a variety of activities for local residents; (3) Various strategies to overcome disadvantage in location are developed, and the concepts of design can be easily recognized by buildings' exterior as the reused industrial heritage and the cultural cluster; (4) Diverse supports for artists make it possible to gather many competent artists, and the cooperative networks among artists play a pivotal role in the development of cultural cluster; (5) The cluster runs educational programs reflecting the needs of local residents, and builds a strong relationship with the local community by supporting regional art industry or developing linked programs; (6) The cluster serves various functions such as cafes, pubs, restaurants, art shops, and bookstores, and hosts appealing events and festivals to attract many people even who are not interested in arts.