• The Journal of Art Theory & Practice
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• no.3
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• pp.35-50
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• 2005

For us, any regional art exist? Almost all art events today take place mostly in Seoul. Concentrating on the reinforcement of its power, the regional art world remains isolated without any connection with the Seoul art community. It is completely closed off from the central art scene. The regional art world seems to consider that more helpful in consolidating its status. It is in real sense suffering the absence of art criticism and art media, lack of an understanding of art and backwardness of art education. Many regional artists are dreaming of moving out from their domain, aspiring to be a member of the central art world. They make an effort to assimilate into a refined, modern style of the central art circle, rather than striving to create works imbued with regionality and locality. As the artists living in the provinces, the characteristics of their district should be above all else reflected in their art. Although they are less informed about the latest trend of culture and art, their art has to be something passionately and obstinately embodying the intrinsic quality of their regions. They have to find a practical solution more positively, instead of merely complaining about the poor condition of the regional art community. There is the need to bring about a turnabout in our awareness that regional art is confined to any limit and cannot be in the center of the entire art world. What' s most significant is to dissolve factionalism and not to depend on school ties or regional networks. As a reaction against authoritarianism, regional art has to put emphasis on attaining its originality. For this, regional art should respect regional tradition, history and background and break away from an old convention of wielding power.

• Journal of the Korea Furniture Society
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• v.26 no.4
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• pp.291-300
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• 2015

The Netherlands' contemporary Art Furniture has drawn large attention from design and art fields all around the world because of Dutch designers' intriguing themes and experimental approaches. Its successful achievement not comes from certain policies or personalities, but the result of ceaseless internal criticisms and self examinations. After World War II, Modernism was the most common notion of furniture design for mass production in the Netherlands like other nations, but Dutch designers and critics put modernist canon up for discussion since 1960s. They have searched counter modernist design for expression of human element and warmth using art works, craft, and Postmodernism theory, etc. Throughout design debate of modernism, free design, design as art and conceptual design, now we could observe Dutch designer's unique and distinguished Art Furniture in the influential places. By analyzing the development of the Netherlands' contemporary Art Furniture in chronological sequences, we could understand them better and learn something useful to Art Furniture in South Korea.

• Journal of architectural history
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• v.4 no.2 s.8
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• pp.79-85
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• 1995

The main aim of the paper is to reveal what is the sign in art and architecture and what is difference between technology and art. By keeping in mind the suggestions of Heidegger's four different worlds, we become able to discern or elaborate on four different contexts of signs and modes in which the sign can work. World (1) is not conceptualized by selected relations of some of things' aspects with one another; rather, it is constructed by our sensory impressions. The sign of World (1) simply points to other objects occurring in the situation. World (2) emerges as an ontological term, and signifies, in terms of relations that are now brought systematically forth, the Being of those entities of World (1) which we naively perceive or take for granted. The sign of World (2) signifies a constructed world. World (3) is understood as the 'wherein' or environment of beings whose total activity is proven to be inseparable from their circumstances. The sign of World (3) is to recover the perspicuous silence of World (3). The World (4) is the ontological-existential understanding of worldhood. The sign of World (4) is to reveal the conspicuous silence of World (4). Finally, the paper suggests that art including architecture cannot be the sign of World (1), (2) but the one of World (3).

• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.67-74
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• 2010

Today, the world is facing overflowing digital technology, floating digital contents in the air, and various perspectives on the contents, and these are called new media waves. The waves show diverse features applied in arts and interior designs. In the new media world, a process that shows what artists and designers are dreaming of, planning, and presenting is becoming important., Therefore, a purpose of this research is to understand and refine the concept of new media world, and is to study on presentations of new media art in commercial spaces. Up to present times, New media art is a metaphor in the air, which connects digital art and design. Like the modifier "NEW" contains meaning of frequent changing, new media art has various characteristics in the commercial areas. First, new media art shows lighter and various space-designs with numerous lights and colors through the evolution of interface between substances and non-substances. Second, new media art has liquidity of spaces that come with diverse communication and change though infinite possibilities of digital technology. Finally, new media arts has amusement itself based on virtual images through interactive reality extension from human experience.

• Archives of design research
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• v.12 no.1
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• pp.85-94
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• 1999

It is very signigicant to study a dominant drift of the contemporary formative art. And it's research not only gives us a great pleasure of study but also will be a big help for designers to study how the dominant drift of the contemporary art has developed thereafter, and what it has influenced upon the following formative movement of it. In this sense I think I cannot emphasize it too strong that I gave a subtitle 'Especially analyzed in War and Peace' do my paper because we can find a real aspect of the formative movement rather by sociological point of view than by formative art itself. In this sense, 1 selected Art Deoo as a thesis of research among other things because Art Deco developed socially in respond to general pressure to adapt to modem World, specially, was a stage in an already burgeoning revolution in the decorative arts. Through this sociological point of view on Art Deco I found lots of things worthwhile to research it Art Deco, which I think shows us a special aspect of the sandwich culture between both world wars in Europe, played the important role of a bridge likning its peculiar style with those of contemporary arts in Europe. In this paper the sociological research of Art Deco style will reveal what the European's emotions meant in the socio-psychological circumstances of Deco between both world wars, and where the peculiarity of Art Deco style came from, and especially why the colors of Art Deco was so gorgeous as called 'color for color's sake'. I tried to put the importance of research of Art Deco largely on the sociological or socio-psychological points of view not on the only formative viewpoints. I could draw a conclusion that Art Deco has a contradictive duplicity in its style that can be expressible in a word like 'naivety in gorgeousness, simplicity in complexity, orderliness in confusion, and peacefulness in noisiness'.

• Acta Via Serica
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• v.2 no.2
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• pp.69-88
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• 2017

Since the beginning of the human world, man has tried to prove his presence on the earth. Wherever he moved, he left his marks in different forms. Whether he lived in caves, in open spaces or in-built structures, he left evidence in art form, the earliest of which are the cave paintings found in various regions of the world. These transformed into open spaces where man carved and painted images and writings on rock faces and boulders. Although Pakistan provided an early home to such art forms, they have been discovered in Kashmir for the first time and will be revealed in this paper. In the present survey, a great number of rock art sites were found and documented in detail. These rock art sites display the earliest communities who settled down or traveled through the region, highlighting their thoughts, beliefs and practices. The tentative chronology of these rock art sites ranges from Neolithic to Hindu periods, creating an interesting mosaic in the historic profile of Kashmir.

• Korean Journal of Human Ecology
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• v.8 no.3
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• pp.525-534
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• 1999

The purpose of this study is to analize in the focus on junk art the relation between hairstyle and dress, and fine art which is one of the driving force of fashion change. The method of this study is to take into theoretically consideration junk art in the trend of art and to take into documental concideration the trend of junk art reflected on hairsyyle and dress. The results are as following. First, there's a trait of poverty. This means using something deserted in our life and expands a new expression world which introduces a new, poor beauty, refusing a existent, rich and arranged one. Second, there's a trait of machinery. In Junk Art, according to the appearance of the beauty of machines, it creates and introduces a mechanic aesthetics as a new- formative art by using industrial by-product. Third, there's a trait of nature. By Junk Art, there appears a trial to restore nature which has been neglected under the name of developing science technology. This expresses natural junk factor by emphasizing the nature itself using natural by-products. The Junk Art has influence on hairstyle and clothing and expands the expression world by some new ways and recognition about the benefaction and the damage of modern civilization.

• Archives of design research
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• v.16 no.3
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• pp.309-318
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• 2003

A work of Art is not supposed to be isolated from the world, but it should be influenced by its cultural background and situations of the times. Therefore, Art itself reflects its era. In other words, it is created being based on the thought of its artist and simultaneously interacting with external conditions or circumstances of the era, so it would also affect the cultural code of its society. This is why modern art made by the individual living in this complicated and diversified society is quite avant-garde. Various demands from its society and diversified senses have been influencing diversification of works of Art. Now we can say that a mode of art is also dose to current stream of the times. A lot of artists have been trying to get out of traditional way of presentation techniques and classification of genres. In that point, the emergence of Multimedia Alt is inevitable in this digital era. The terms of Internet or multimedia are now familiar with everybody in the world, and a lot of works like Technology Art, Information Art, Computer Art, Digital Art, New Media Art, and so on have been coming into the world by using multimedia. Unlike other works of Art, these works from multimedia are practically used by being combined with technologies. Hereupon, in this paper I would like to find out a concept of Multimedia Art, its social function, and the future prospect of this brand-new form of art.

• Journal of Korea Multimedia Society
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• v.23 no.4
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• pp.603-614
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• 2020

Analyzing various works of Nam June Paik who pioneered the world of video art, we can find a number of audiovisual art pieces - in a broad sense - with the characteristics of "intermedia" that are not clearly identified as one genre. Especially, his career as a musician becomes an important clue for us to discuss the unique originality found in Paik's works. Nevertheless, examples of research that specifically explore how Paik's musicality is reflected in his artistry and could be deeply understood is still rare. This article examines Paik's audiovisual art world, and reviews how his musicality is expressed through the characteristics of media and form, as well as contributed to the ultimate technical and aesthetic realizations of his pieces from the perspective of musical synesthesia. The fact that Paik expanded the concept of music through technology, and fused different media to visualize music, is an important achievement in the context of aesthetic, synesthetic music in the field of audiovisual art.

• Journal of Fashion Business
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• v.6 no.3
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• pp.94-109
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• 2002

The advent of the information age, advancement of the multi-media, and proliferation of internet are all ushering-in a new era of a cyber world. The artistic expression is unfolding into a new genre of a new era.. In the modern art, the boundary between the fine art and the applied art is becoming blurred, and further, distinction of fine art from popular art is also becoming meaningless. The advancement of science and technology, by offering new materials and visual forms, is contributing to the expansion of the morden art's horizon. As fashion illustration is gaining recognition as a form of art which mirrors today's realities, it has also become increasingly necessary to add variety and newness. Fashion illustration is thus becoming the visual language of the modern world, capable of conveying artistic emotion, and at the same time able to effectively communicate the image of fashion to the masses. The increasing awareness of artistic talent and ingenuity as essential components of fashion illustration is yielding greater fusion between fashion illustration and art & technology. This has resulted in the use of the advanced computer technology as a tool for crafting artistic expressions, such as fashion illustration, and this new tool has opened-up new possibilities for expressing images and colors. Further, the computer-aided fashion illustration is emerging as a new technique for expression. The concept of fashion illustration, history of fashion illustration from its incepton to modern date is reviewed and the simplicity has been researched throughout past studies published in Korean and overseas Journals.