• 패션비즈니스
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• 제24권6호
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• pp.18-45
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• 2020

Feminist artists are special in Chinese modern art. Sticking to their own artistic ideas, they constantly emphasize women's psychological characteristics and aesthetic values in their works under the background of modern society. Since feminism was introduced into China from western arts in the 1970s, it has greatly inspired Chinese female artists. This study used comparative analysis and correlation analysis to establish the connection between the works of local Chinese female artists and modern women's wear design, this connection is the common language form of Chinese female artists and modern fashion designers when expressing female psychology and aesthetics. This is a way for Chinese female artists to seek dialogue with Western and global female art, and the development characteristics of the localization of feminism in Chinese art and design. The significance of the research is to improve the international artistic atmosphere of Chinese feminist art and instill a new understanding of Chinese feminist art in the world.

• 한국콘텐츠학회논문지
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• 제17권4호
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• pp.510-519
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• 2017

지구촌은 디지털 네트워크로 시공을 초월하여 소통하고 있다. 이러한 시대에 인간들은 더욱더 풍족한 테크놀로지 세상 속에서 휴머니티를 찾고 아날로그적 감성을 갈망한다. 예술은 아날로그적 감성을 자극하고 디자인은 개인의 감성적인 부분을 쉽게 표출할 수 있는 대표적인 도구이자 분야이다. 본 논문은 디지털과 아날로그 예술의 융합에 관하여 본인의 작품 <결합체> 시리즈를 중심으로 연구하였다. <결합체>시리즈는 <지도> 시리즈 작품들에서 파생된 작품이며, 실제 원본을 분해, 해체 하여 나온 조각들을 디지털화 하여 그래픽 편집기술을 이용해 만든 작품이다. 본 연구자는 예술과 디자인의 성공적 콜라보레이션 사례들을 살펴보고, <결합체> 작품 이미지들을 이용하여 다양한 디자인 상품들을 연구 및 개발 하여 보았다. 그리고 이를 통해 네트워크로 연결된 세계의 관람객들과 친숙하게 소통하고자 한다. 이미 세계의 많은 순수미술 작가들이 본인의 작품들을 아트상품화 하여 판매하고 있고, 문화 예술과 상업적 제품과의 콜라보레이션은 기업, 작가 그리고 소비자에게 서로 상생효과를 주며 새로운 상품과 가치를 창출하고 있다. 본 연구자는 자신의 예술 작품을 이용하여 다양한 제품으로 디자인 해보고, 어떻게 작가 와 아트상품을 효과적으로 홍보를 할 수 있을 것인가에 대하여 연구하였다.

• Acta Via Serica
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• 제2권1호
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• pp.49-64
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• 2017

During the seventeenth century, Amsterdam experienced unprecedented growth and affluence, and the city developed into the world's staple market playing an indispensable role in Silk Road trade. This era, which coincides with post-reformation Dutch society, also allowed artists to produce art works depicting objects from everyday life, moving away from the earlier religious subject matter. This paper intends to look into seventeenth century Dutch paintings from their social setting, especially focusing on the influence of the Silk Road in the art making process. The paper also looks into the Chinese side of Silk Road interaction and discusses how Chinese porcelain reflects cultural influence from the Dutch. The paper incorporates Silk Road as a methodology to discuss art works departing from earlier practices in art history. This approach allows us to understand art as a product of multi-disciplinary, multi-cultural experience. The methodology invites more discussion on numerous art forms which emerged along the Silk Road trading route to expand and explore the history of East-West cultural exchange.

• 한국생활과학회지
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• 제8권2호
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• pp.327-337
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• 1999

Primitive men's primordial formative activity derives from incarnation contained in intensive vitality and strong creativity mind. The trend of modern fashion requiring the boundless imagination can be called that it, just, itself, has something in common with basic spiritual activity that primitive men had. What is concerning how modern fashion designers have developed formative language through enchanting primitive art is as follows. 1. The nature's mysterious power appears to be transformed into personified image. The incarnation for acquiring beauty, power, prestige of genius appears in the form of personification, making use of mask in modern fashion. 2. As for primitive men, the whole universe has a potentiality as a symbol. The symbolism of primitive art based on religion and myth appears in modern art as the form of presenting oppositional objects together in one space. 3. Primitive art is the purest form and the most unpolluted. This shows the natural quality being assimilated into nature, which is expressed in modern fashion as intensity, free-spirit, simplicity, etc. 4. The primitive men's anxiety to the outside world appears as impulse. The geometrical form of primitive art occurred in the shape of impulse appears in expressional form of modern fashion. 5. The real existence in primitive art inducing real materials and objects, in themselves, into formative world appears in modern art in the way of expression such as repetition, enlargement, exact reproduction.

• 패션비즈니스
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• 제20권5호
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• pp.1-15
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• 2016

The purpose of this study is to interpret the artistic nature of fashion from the point of view of George Dickie's Institutional theory of art, which defined art from a sociological context. Five notions to formulate the institutional definition of art were regarding the artist, work of art, public, artworld, and artworld system. These notions were applied to the fashion world, and they deduced the definitions of a fashion designer, a fashion product, a fashion consumer, and the fashion system, which indicated fashion's social status in the art system. Firstly, a fashion designer plays a collective role in the product with an understanding of the consumers, professional knowledge of the design, and knowledge of making images of fashion products. Secondly, a fashion product involves artifactuality in the form of clothes created by collaboration among producers and it is transformed into fashion by collective activity of distributors and consumers. Thirdly, a consumer is a set of people who play a leading role in the assessment and consumption of the fashion product, allow the fashion designer to read his or her taste and reflect it in the fashion product although they are not directly involved in its production. Fourthly, a fashion system is a social framework for the presentation of a fashion product by a fashion designer to a consumer, and a social institution which enables clothes to transform into fashion through design, production, display, distribution, and sales. As a result, fashion is defined as an artifact in the form of clothes created by a fashion designer and presented to a consumer by the fashion system.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 1999년도 춘계학술발표대회 논문집
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• pp.71-74
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• 1999

Mechanical world view was built by Newton and Decarte approximately 400 years ago. Modern Society has reached at the time for fundamental adjustment and in effect, the paradigm shift is now under way. The new paradigm is the holistic world view that considers the world as the integrated entirety rather than the unity of separated parts. The pluralistic phase which can be considered as general characteristics observed in the art, society and culture in the end of the 20th century is seen as the reflection of this new world view. the complementary relationship between traditionism and modernity and oriental intuitive, holistic approach and western rational analytical approach can be explained when the complementary relationship is recognized with holistic and integrated view. The holistic paradigm and integrated-artistic view are the new aesthetic value which can suggest an alternative for public art of environmental design.

• 한국조경학회지
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• 제33권3호
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• pp.43-55
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• 2005

Since 1990s, increasing number of public arts have been installed in housing projects in Korea. Most of them were made of granite, bronze and stainless steel and were sculptures as well. Then it resulted in monotony. New technology and community need various Dials in material and genre of Public art. The author wonders if people really want granite sculpture, so started the study of public arts in housing projects. Unfortunately most of people related public art wanted granite sculpture. But there were some hope in survey. They wanted the other genre and material like ceramic wall, art fountain and landmark tower. This means that they care about real world like vandalism and Product Liability, but also want more fantastic and beautiful world in the second step. Recently, the facades of apartments are changing rapidly as more diverse materials in their forms, textures, and colors. And landscape designs are changing their clothes in every second as well. According to these flows public arts in apartments needs more diversified trial within genres and materials to avoid monotonous outdoor.

• 한국HCI학회:학술대회논문집
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• 한국HCI학회 2009년도 학술대회
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• pp.1246-1251
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• 2009

세컨드라이프는 온라인 멀티유저 가상공간으로, 3차원 가상공간에서 사용자는 목소리와 텍스트를 통해 사용자간의 대화를 하며, 다양한 사회 활동을 하고, 새로운 형식의 가상물건을 만들 수 있다. 본 연구에서는 평면 회화, 퍼포먼스, 설치 예술, 미디어아트 등 다양한 형태의 작품을 가상미술전시를 구축하는 과정을 설명한다. 이를 통해 세 컨드라이프에서 컨템포러리아트 전시를 만들 때의 기술적인 한계와 가상화된 작품과 인간과의 인식관계에 대해 논의한다.

• 복식
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• 제22권
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• pp.277-296
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• 1994

The progressive artists in Austria including Gustav Klimt organized the Viennes Se-cessionist in 1897 and they took an active part in the reformation of the reformation of the applied art by accepting the Jugendstil standing for the true art. The vocabularies which characterize this group are decoration literature and the power of symbol. Klimt especially expressed these characteristics and his strong person-ality. For he created his works with the sym-bolic and friendly splendor through his highly decorative talents by accepting the enwly changed artistic situation in those days and by getting out of the naturalistic trends he was regarded as an avant-garde artist as a major figure among the Symbolist artists who revived European culture which was destroyed through the World War I. The characteristics of klimt's works was to express the various human thoughts and minds through the decorativeness and the femininity and to use the decorative elements of old Greek and Egyptian culture and Japanese art as the motives of his works, His art is to be found between the naturalistic characteristics and formalization as well as between the in-dustrial arts and the fine arts. In his many portraits he preferred women by trying to express eroticism hidden behind the human inner world. For this he demonstrated the attractiveness and the characteristics of the models by designing the illusionary and unique clothes. In general his genius was to be seen through the costume which was decorated with metals and jewels and through the characteristics of the modern costume in which the previous solid silhouette was removed and the gentle and elegant me-dium color was used. by accepting the new artistic trends in the turn of the century by fully expressing those characteristics in his creative world and by taking his theme from the eroticism through the decorativeness and the expression of women Gustav Klimt's uniquely decorative ex-pression completely realized the aesthetics of Jugendstil symbol decoration and expression which displayed not only the external appear-ance but also the inner world. Especially he created a new appearance emphasizing the costume of the characters in his works. Also through the costume he expressed his artistic consciousness and psy-chology. He showed the characteristics of the reformed costume through the medium color the simple forms and gentle silhouette. Also he tried to symbolize the passionate inner pow-er by designing the small mosaics such as the geometrical patterns whirlpool patterns and the indecent meanings all over the costume. Klmt's this kinds of attemps shows a Stil Kostume as the external outcome of the inner spiritual activities like art and it establishes a basis for the theory of costume are which deals with the concepts of costume from the artistics points of view. This tradition playing an important role in the contemporary history of costume even has been still inherited up to today.

• 전기저널
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• 1호통권61호
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• pp.12-17
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• 1982