• 조형예술학연구
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• 제12권
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• pp.125-143
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• 2007

The politics penetrating through the contemporary art since modernism to postmodernism is to accomplish the 'Non-representation' in the artworks. This study argues that postmodernism did not put an end to the formalistic feature of modernism but intended to accomplish it. Modernist art aimed at purity, i.e. self-referential and self-definition art advocated by Clement Greenberg, and it carne to the end by accomplishing flatness and materiality. It was an 'evasion to the matter' which allocated the object from visuality of outer object to the psychic image of the subject. It failed being 'non-representational' as what it really achieved was transition of object. Jean Baudrillard's theory tried to overcome the representational quality by 'being simulacre'. In the representative artworks of the past, the meaning of artworks was reverted under the outer context or object. The meaning again failed being 'Non-representational' as it was restored to the psychic image of the subject in modernist artworks where the definite illusion was demolished Meanwhile, artwork advocating simulacre acquired Non-representational quality by liberating from both models. It did not deconstruct the self-referential tendency of modernism but maximized the Non-representational modernistic principle. After creating 'Non-representation' through simulacre, the existential status and function of an artwork is the inclination and moral of contemporary art as 'Non-representation'. The image theory of Henri Bergson sets the existential status of 'image' as it does not belong to either subject nor object. It provides significant foundation for arguing the existential status of simulacre. Moreover, though an artwork as a fragment forming a movement image in the world cannot represent the object, it can however sustain certain kind of fractal resemblance with the world by letting the two parties communicate. The theory of sense by Gilles Deleuze is of profound significance as it specifically indicated way how the stage of absorption through the unity of subject and object is realized in forms of artworks, and configured the latent and invisible energy.

• 복식
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• 제58권1호
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• pp.17-32
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• 2008

This study focuses on the analysis of Baudelaire's aesthetic perspective which has established a theoretical basis on research of the critical reviews' salon exhibitions as written by Baudelaire. Charles Pierre Baudelaire(1821-1867) having lived during the latter part of Neo-classicism and the era of Romanticism and Impressionism, Baudelaire displayed opposition to customary realities such as social ideology or religious authority that suppressed human nature. Also he pioneered a new genre known as art criticism and wrote much that provided important insights on the essential elements of artistic work, modernity and trend, as well as art definition and art categories. The aesthetic perspective and creative spirit were formed by Baudelaire, during his age were also reconfirmed in the successive ages of modernism and postmodernism. As such, this study sheds light on how Baudelaire's aesthetic perspective was not only temporarily assertion but it is consistently applied to modern art and fashion area. What is more important that, Baudelaire admired new artificial beauty that is created by the human soul liberated from natural instincts or desires. Especially, informed by strangeness and distinctiveness, Baudelaire's view of fashion ran along the same vein as his view of art, and these views form the basis of that creative spirit which situated western fashion on a center of the world. In conclusion, the research on Baudelaire's aesthetic perspective will reaffirm a firm awareness of the creative spirit essential to globally-oriented creative artists and designers who work within the circumstance of the 21st century, a time when the paving of new aesthetic paths is necessary. The research also offers a clear understanding of the aesthetic values demanded by this age.

• 기록학연구
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• 제80호
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• pp.197-232
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• 2024

이 연구는 미술계에 확산하고 있는 아카이브 아트를 이해하고, 이를 통해서 기록을 새롭게 바라보기 위한 것이다. 아카이브 아트는 기록을 표현 매체로 활용해서 이루어지는 미술 창작과 전시 행위를 일컫는다. 아카이브 아트는 동시대 미술의 한 경향을 형성하면서 전시와 작품 창작의 방법으로 주목받고 있다. 아카이브 아트는 개념미술의 대두에서 비롯된 미술 창작 방법의 변화, 사진을 비롯한 미디어의 발전과 디지털 기술의 약진, 푸코와 데리다의 아카이브에 대한 담론의 영향 속에서 태동하였다. 1920년대 사진미학에서 비롯된 아카이브와 미술의 만남은 개념미술과 디지털 기술 그리고 포스트모더니즘의 확산에 힘입어서 1990년대에는 동시대 미술의 아카이브 전환을 불러왔다. 아카이브 아트는 전통적인 미술 창작 방법을 전복하는 것뿐만 아니라, 근대적 아카이브를 비롯한 사회제도에 대한 비판과 해체를 포함하고 있다. 아카이브 아트는 작가의 의도에 따라 기록을 재배열하고, 재구성하고, 심지어 사실이 아닌 허구까지 수용한다. 아카이브 아트에서의 기록의 본질은 과거의 재현이 아니라 현재의 필요에 대한 표현이다. 아카이브 아트의 기록의 활용 방식은 기록학에서의 기록의 개념을 뒤흔들면서, 법적, 행정적 가치뿐만 아니라 미학적 가치를 지닌 대상으로서 기록을 새롭게 바라볼 것을 요구하고 있다.

• 미술이론과 현장
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• 제2호
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• International Journal of Contents
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• 제16권2호
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• pp.41-50
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• 2020

This paper presents Reflectance Transformation Imaging (RTI) as a tool to support the study of paintings and authentication. Manufacturing techniques of the artist are reviewed through the comparison between liberal perspectives and digital imaging techniques. In this study, RTI was applied to focus on the detailed textural information of eight paintings by Korean artist Lee Ji-ho. The RTI result visualizes shallow reliefs of brush strokes and different mediums on the surface technically enhanced through imaging filters, and these morphological textures on the surface act as a key factor in understanding the characteristics of the artist. The surface morphology and art criticism work as qualitative indicators to analyze the change of artistic techniques through time, and the usage of different mediums. The results of this study confirm that the RTI technique can be used as an analysis device in the study of paintings.

• 조형예술학연구
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• 제3권
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• pp.178-224
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• 2001

This thesis aims to suggest the notion of the sublime as one of the common elements of contemporary plastic arts, as a new key for the reading of our visual environment. The concept of sublimity has been one of important categories in traditional aesthetics since the eighteenth century; beyond the domain of this tradition, however, it is rigorously investigated in sociology, literary criticism, visual art theory and post-structuralist philosophy, especially the investigation of post-modern conditions by Jean-Fran cois Lyotard. Jean-Fran cois Lyotard defines sublimity as the elemental feature of the late twentieth century visual arts based on post-structuralism and suggests the feeling of the sublime as dominant sensibility in post-modern society. According to Lyotard, the sublime is a contradictory feeling of pleasure mixed with suffering as in the theory of experimental avant-gardes; the post-modern sublimity is the feeling of suffering or agony when we feel in confronting the new and the unknown. The investigation of the sublime based on Lyotard's perspectives, therefore, is meaningful in decoding contemporary visual arts. This investigation, therefore, mainly deals with the post-modern concept of the sublime and contemporary visual arts viewed in the sublime.

• 영어어문교육
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• 제4호
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• pp.269-284
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• 1998

The purpose of this thesis is to understand Henry Jame's theory of the novel and to clarify the importance of him as a theorist. He developed many literary techniques through his dozens of works. But it is more important that he is a theorist who established the unique theory of novel through his critical essays. I arranged Jame's early theories, focusing on "The Art of Fiction" that was one of his major essays written in 1884. His main idea was that the purpose of novel was to represent life. The "experience" that James emphasized was composed of characters, impression and consciousness. "Psychological Realism", which is Jame's unique realism, reflected his interests in the inner mind of man. James believed in the capacity of human imagination as the source of creative inspiration and its ability to perceive reality in a manner that is more intense and comprehensive and transform it into a more balanced and orderly ideality. Henry James always insisted on the importance of writer's imagination. Another important imagination in Henry Jame's novel is the character's imagination. It is closely related with the consciousness, the heart of the Jame's literary world. James devised the new form of novel as well as the possibility of representation of mind. At this point, it is said that James was the pioneer of literary criticism. He evoked the trend of the early 20th century.

• 한국실내디자인학회논문집
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• 제16권6호
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• pp.56-64
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• 2007

This study is purposed to explicate the idea of 'the general design' for the construction of the construction of space of $L\'{a}szl\'{o}$ Moholy-Nagy who has stood against the traditional value system and made an attempt to create a new space-form language. On the basis of unification of perception and reality Moholy-Nagy intended to regenerate the essential aspects of life through an art by bestowing art with an aesthetic foundation and also expanding the art world into the living area. 'The Allgemeine Elementenlehre(the general theory of elements)' of Moholy-Nagy that is distanced from the visual perception as the dominant sense which is based on the principle of representation and imitation, and emphasized on the complicated relationship between the various senses including the tactile sense, offers a pedagogical basis for the space design that is indispensable for the plastic thinking and practice. At the same time it indicates an access route to the primary nature through the spatial construction of the prime elements of nature and man To explicate his idea toward the general theory of design of space, it will be tried first of all to clarify the core points of the empirio-criticism and the constructivism as the theoretical backgrounds of Moholy-Nagy. And then on the basis of these theoretical backgrounds will be analyzed the system and the contents of 'the allgemeine Elementenlehre' as the general space design theory and also the general space design pedagogy.

• 한국의류학회지
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• 제45권3호
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• pp.546-558
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• 2021

As consumers' demand for corporate social responsibility (CSR) has increased, luxury fashion brands have been providing support for arts and culture as CSR activities. The purpose of this study is to examine patronage of arts and culture as corporate philanthropy and to analyze the motives luxury fashion brands have for supporting arts and culture. The study investigates patronage of arts and culture through literature reviews and conducts case studies of luxury fashion brands' patronage. The results of the analysis are as follows: first, patronage based on public interest reduces the social costs of arts and culture and helps to create aesthetic experiences for the public; second, sustainable patronage is not only priceless PR for luxury fashion brands, it also supports the development of arts and culture; third, authentic patronage obviates the criticism that luxury fashion brands only support arts and culture for the purposes of profit, by separating business operations from patronage. In conclusion, those three elements are at the heart of patronage for the arts and culture and fashion companies need to support culture and the arts by taking a long-term perspective when it comes to creating social value.

• 비교문화연구
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• 제33권
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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.