• Journal of People, Plants, and Environment
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• v.24 no.6
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• pp.685-691
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• 2021

Background and objective: Understanding abstract art as an art form requires depth of thought. Moreover, understanding land art as abstract art is challenging, given its focus on the minimalism and abstract concepts. Much focus, research, and work were actively conducted in the 1970s, as it represented an abstract expression of minimalism. The characteristics of minimalism connote abstract meanings in the use of materials. Nevertheless, the original research of works or artists has often been mentioned, but few studies have analyzed the abstract language of land art materials. The aim of this study is to thus determine the abstract meanings of materials in land art from the 1970s to the 2010s. Methods: Art-based research was employed to address the aim. This study classified the land art materials into intangible and tangible materials, where intangible materials focused on lines, circles, and labyrinths, and tangible materials focused on the earth, stones, wood, and snow. Results: Intangible and tangible materials of land art conveyed various abstract meanings. Intangible materials were reflective of connection and symbiosis with nature, delivering abstract languages of 'take-nothing,' 'reflection' and 'opportunity.' Tangible materials reflected the abstract concepts of 'intervention,' 'resistance,' 'unliving,' and 'change,' and conveyed caveats. In other words, taken together, intangible and tangible materials were presented in symbiosis-and with caveats-and delivered messages for the present and the future. Interestingly, intangible materials inherently reflect symbiosis and communicate caveats in works based on a non-contextualized present and future. Conclusion: Interpretation of the abstract languages derived from intangible and tangible materials could imply a symbiosis between humans and nature, while conveying the message that caveats, to humans, are still ongoing. This relationship plays a significant role in an artist's selection of a medium, which is reflective of abstract beliefs reflected in contemporary, nature-based works created on Earth.

• Journal of the Korean Institute of Educational Facilities
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• v.26 no.3
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• pp.3-13
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• 2019

Purpose: The human body is a chemical laboratory. Artists are exposed to a variety of chemicals in art studio space and the art materials used in the creation contain toxic ingredients, exposing them to a variety of incurable diseases, including cancer. It aims to analyze the problems of the studio space environment and the risks of art materials, which are fundamental causes of the outbreak of incurable diseases, and to derive the direction of specific practices that can reduce the occurrence of incurable diseases by artists. Method: The harmfulness of an artist's creative space is the cause of a disease outbreak, and two primary factors cause it. One is the environmental hazards caused by the use of tools, air pollution, and chemical hazards caused by art materials in the architectural space environment of the studio. Necessary measures are put forward to control disease outbreaks by identifying the status and cause of intractable diseases caused by studies. Result: The plan is urgent for the establishment of safety rules and regular pre-trainthese two factors and analyzing the results of prior research and implementation investigationing, the legal provisions of studio architecture design and the introduction of labelling rules to control the distribution of harmful art materials.

• Archives of design research
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• v.16 no.4
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• pp.365-374
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• 2003

The purpose of the present study was to improve the artistic qualities in the future fashion design by investigating how the art to wear was applied to the inspiration in the modern fashion design in the late 1990s. For this purpose the present paper examined characteristics in art to wear and their impact on modern fashion design in the late 1990s. Distinguished from the traditional costume, art to wear disregarded a fixed concept on design elements such as the socio-cultural images, materials, and forms. The artists in art to wear freely expressed their "selves" and their individuality to their works in a variety of ways. In fashion design in the late 1990s the creative characteristics of art to wear were reflected in four ways: (1) eco-look, (2) humor, (3) deformation, (4) materials. The present study suggests that the creativity of the art to wear can establish the potentials and possibility in modern fashion design, and art to wear can be a crucial mediator in opening art into the real world.

• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.29-37
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• 2005

Beauty Art is an act which makes a face beautiful using various methods such as permanent, manicure and make-up. Recently, Beauty Art is recognized as the personal culture expressing the value of beauty and spirit. Therefore, there are growing interests in the comprehensive study of Beauty Art nor only from the beauty industries but also from academia, because Beauty Art is the high value-added field and Is recognized as a style of the dress. The purpose of this study is to open a new view to understand the Nail Art as a fold of experimental plastic art. The arctic expression is added to Beauty Art to develop it from the routine technique of the make-up and hairstyling to creative art. Assemblage is adopted to provide Beauty Art with fine harmonious expression which develop Nail Art into interesting and unique art area. Assemblage meaning compounding or collection is a technique through which three-dimension is added to two-dimension paintings, and which is an expression of an art work by recollection of miscellaneous articles or waste materials. Assemblage is a term which Jean Dubuffet coioned first in order to differentiate collage used by Picaso or Braque. Here, I present Nail Art Designs which applied Jean Dubuffet's works focusing on Automaticity and Happenstantial phenomena of materials, Materialization, and Directness. These features are characteristics of Assemblage which basic frameworks are fantastic collection, accumulation, constructive collection, and object collection.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2008.05a
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• pp.169-172
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• 2008

Nationally large scale of festival is common in these days, the space for a space be party-able such as an event space or an performance space is more necessary. Accordingly applied the balloon art which utilizes a balloon material, to interior and exterior space design can maximize space design for the nonce and renovate space with flexible materials which is the balloon art. This research provides the balloon art is able to be a new research field in interior and exterior design study with three types of way to apply the balloon art to interior and exterior design. First type is an applied interior design with the balloon art, second type is an applied party space design with the balloon art, and third type is practical examples of applied interior design with mixing materials of the balloon and another materials.

• Archives of design research
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• no.16
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• pp.237-252
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• 1996

Study of new materials, which has been going on in many fields of modem art since the beginning of this century, has cintributed much to the development of modem art. In this regard, it is noteworthy that many in the field of fiber art have experimented with non-traditional, indusrial materials with some notable success. Industrial materials represent the world of thechnology we live in and help us form the kind of view on art that is reflective of the present age and its social milieu. Industrial materials, when used as media for art, also present us with new concepts and possibilities for artistic expression. In fiber art, the use of industrial materials has greatly expanded the very idea of 'fiber', effectively ferring the imagination of fiber aetists to experiment with diverse materials and new mathodology. Overcoming the traditional constraints of technique-orienthd their discipline, fiber artists began to pay more attention to matiere or the material jtself and the infinite variety of surface, color and texture that it promises. And informed by this newly discovered aesthetice of the material. fiber artists began in eamest to expand the area of their artistic expression, producing multi-dimensional works, conquering space and experimentiong with hugc environmantal works.

• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.144-154
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• 2010

This study aimed at analyzing physical characteristics of art-walls which is a focal point in contemporary interiors of the apartment houses. The factors for the analysis were types of apartments, positions, widths, compositions of elevation, and materials of art-walls. 89 art-walls were selected for the analysis ranging from $76m^2$ to $187m^2$. The result shows that wood was mostly applied to art-walls in small types of apartment in combination with other materials, and the composition of elevation was asymmetric. If the width of art-walls became smaller, the elevation was dominantly designed with symmetrical grid using tiles. Tiles turned out to be the general material for the single-applied material. However, if more than two materials were applied to art-walls, wood was chosen as the main material. Regardless of the types of apartment, big-sized art-walls were usually designed in the living room, and two different types of materials were applied to the walls. It reveals that art-walls of apartment houses have been planned and designed with focuses on the living room in the housing space. To make a modular panel for the art-walls, 400mm and 800mm sizes were both suggested, 400mm for the smaller composition, and 800mm for the larger composition of the art-walls. A Wall image is becoming more essential to the living space these days, because it can be both decorative and also supportive to residents' various individualities. Therefore, it is expected that further researches on art-walls are continuously performed, and also various designs of art-walls based on the modular system are developed in the near future.

• Journal of Digital Convergence
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• v.19 no.2
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• pp.463-469
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• 2021

The aesthetic value of Korea is rising in various fields through the use of designs using Korean materials. Korean materials contain oriental ideas and are widely used as materials for design development due to the uniqueness of its form. The purpose of this study is to present basic data of nail art design differentiated nail art designs required at the nail art industry site by producing nail works using Korean materials. Accordingly, We proceeded on the basis of theoretical consideration and empirical research for the development of nail art design, a field of beauty in this study, and made a Korean and unique nail art design work using the Four Gracious Plants. For this purpose, we considered theoretically the characteristics of nail art and the Gracious Plants, and made nail art design works derived from empirical research. The work was analyzed by color, texture, and design elements of form. Therefore, the mixed method of Nail Art and the Gracious Plants, which is the core of this study, is considered to be meaningful in laying the foundation for creative nail art design development.

• Journal of Korean Library and Information Science Society
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• v.55 no.2
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• pp.159-187
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• 2024

From the past to the present, collecting and managing collections have been one of the main functions of art museums. Museum work has focused on artworks rather than visual arts materials. Consequently, the importance of visual arts materials has tended to be undervalued, and due to persistent problems such as a lack of budget and space, the collection and management of these materials have not been easy. Furthermore, the unique nature of visual arts materials in terms of their types, sources, and distribution systems poses challenges for collecting them. Establishing a collection policy is the most fundamental and essential approach to addressing these difficulties. However, most domestic institutions collecting visual arts materials operate without a collection policy. This study aims to improve this situation by examining the current state of collecting visual arts materials at the National Museum of Modern and Contemporary Art, Korea, a prominent art museum in South Korea, to identify problems. It then analyzes overseas cases to draw implications. Based on these findings, the study proposes measures to improve current regulations and establish a collection policy for enhancing the collection of visual arts materials.

• Journal of the Korean Society of Costume
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• v.34
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• pp.91-107
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• 1997

For the purpose of this study is the re-searcher investigated the concept and background of kitsch and the character of Kitsch in the paintings with focus on the Surrealism and Pop Art. In this study it was focused that how the shapes and materials was expressed in the modern fashion. Surrealism in paintings is lead thoughts and art movement to humanism of be-having man and pursuit of mental sub-stance of human beings expressing un-conscious word and transforming image in new way by the methods Automatism and Depaysements. Pop Art in paintings is used to objects common and cheap in the popular con-sumer's society. That is to say Pop Art sublimated con-sumptional culture of mass as art. And this phenomenon is appeared in the modern fashion which have influencedon the shapes and materials in design. Kitsch's character was researched in terms of shapes materials in the modern fashion with focus on the Surrealism and Pop Art and their aspect are summarized as follows: 1. In he aspect of shapes it appears that the shapes in the modern fashion is that of play through the method distor-tion or modification of dress. It was un-derstood that the cause of the dreaming and fantasy in the childhood. In the aspect of materials it apepears that the materials in the modern fashion is that of exagerated-decoration through using of object which is various asses-sories flower doll etc. 2. In the aspect of shapes it appears that the shapes in the modern fashion is that of disharmoney disorder and unsuit-ableness. The major cause of that is be-cause of Antistandard fashion I the aspect of materials it appears that the materials in the modern fashion is that of sarcasm pleasantness. It was reviwed that the major cause of the wit or humor comes from the image of the masses makes use of such as plastic fun-ny picture can coin etc.