• JOURNAL OF ELECTRICAL WORLD
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• no.2 s.62
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• pp.22-27
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• 1982

• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• Journal of Fashion Business
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• v.24 no.3
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• pp.114-120
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• 2020

This paper is a study of culture and identity expressed in textile art works of the age of globalization, centering on the Beijing International Fiber Art Biennale. This study began with the idea that globalism would develop regional cultural diversity as well as contribute to the field of art. In 2000, the Beijing International Fiber Art Biennale held its first large exhibition, and a total of 10 biennales were held from then until 2018. Get an understanding of the Beijing International fiber art Biennale, and select award-winning works from one to ten times to learn about cultural characteristics and identity. The analysis was based on the works of awards from China and Japan, including Korea, which are the center of East Asian culture. The Beijing International Fiber Art Biennale has steadily increased the number of participating countries, writers and works, and once again opened the stage for the revival of textile art following the Lausanne International Tapestry Biennale. Through the Beijing International Fiber Art Biennale, textile artists hope to promote world harmony in textile art, respect cultural diversity and conduct equal dialogue between East and West cultures.

• The Journal of Art Theory & Practice
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• no.15
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• pp.83-109
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• 2013

The study mainly discusses appreciation of interactive art works seen from the perspective of play attributes that make spectators glimpse the truth of things. The general studies of interactivity, as one of remarkable features in contemporary art, are regarding the relation between the effects of digital media and interactivity as well as video games. From the preceding discussion, I analyze the effects of the appreciating interactive art works which are focused on new sensory systems, the methods to intuit the essence of the art works. Based on the concept, as I investigate the play attributes found in the interactive art works, this study gives attention to the possibility that if the spectators can reach the inherent aspects of interactive art works, while interacting them. Thus to discuss the properties of the play, this article studies play concept of Johan Huizinga(1872-1945), psychologist and anthropologist and play theory of Hans Georg Gadamer(1900-2002) who considers play as a metaphor for art. As Huizinga thinks acting is the important attribute of play, Gadamer argues whenever the term 'play' is used, we should think about 'to-and tro movement' and the movement is absence of goal as well as endlessly renews through repetition. Then what we should pay attention to, seeing the essence of art and play as similar? That is, Gadamer claims, we can understand the truth of things through the play. To apply the play concept to the interactive art works, I research the works of Maurice Benayoun(1957 - ), French interactive artist. By employing interactivity, he attempts to extend and affect the experience of his art works to one of social phenomenon. Striving this, spectators can widen and deepen the breadth of their intuition and recognize the essence of art works. It is the interactive art works that can be the apex of the transformation of structure from the play to the art. The endless repetitive process of play, which is free creation-annihilation process, is similar with the interactive experience of spectators that is variable, de-centered, and multi-sensory. The pure action of the play lets us recognize, sense and accept the world and through the system of interactive art experience, we can expand the horizons of perception. Interactive art works with these play attributes are capable of playing the role that the spectators glimpse the truth of things and experience the world around them.

• Journal of Digital Convergence
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• v.20 no.2
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• pp.353-359
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• 2022

Entering the era of the 4th Industrial Revolution, as humans pursue beauty with a differentiated lifestyle and the quality of life improves, nail art is in the spotlight as another art field as part of beauty and jewelry art. In addition, as the rapidly growing and digitalized decorative beauty nail industry has become a major industry in the world, it is expressed as a formative beauty art that requires creative and original decorative expression. Recently, as the rapidly growing and digitalized decorative beauty nail industry has become a major industry in the world, it is expressed as a formative beauty art that requires creative and original decorative expression. This study aims to present the direction of a new expression idea that expresses visual beauty, expecting the creative beauty industry and jewelry nail art to become popular as an image imprinting expression method using a laser marking program among digital systems.

• The Journal of Art Theory & Practice
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• no.2
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• pp.191-213
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• 2004

The trend of "Blockbuster Exhibitions" over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled "The Commercialization of Blockbuster Exhibitions in Museums," I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum's attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the "hype" that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of "souvenirs" from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to he influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation's tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs, while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In Slim, my dissertation discusses the mechanism of the commercialized "Blockbuster Exhibition" and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.

• Journal of the Korea Furniture Society
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• v.10 no.2
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• pp.37-53
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• 1999

On the turning paradigm in the early part of the 20th century, the change of behavior patterns naturally had influence on arts based it. Also the furniture designs was formed new style by interaction between paintings and sculptures and architectures. In this study, it was focused on Art-Deco movement that was started in 1920's France and was widely developed. Besides it was found out principles and characters of this style, and was made analysis and sense of the characteristic about formative language of Art-Deco on the relation with contemporary fine art and architecture. As the result, the origin of Art-Deco is characterized by three categories : abstraction, mystery and symbolism. The Art-Deco furniture design symbolized by the desire to pursue both splendor and elegance is French style pragmatism in progress toward Modern design.

• Asian review of World Histories
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• v.2 no.1
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• pp.17-45
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• 2014

Okakura Kakuz$\bar{o}$ (1863-1913), the founder of the Japan Art Institute, is best known for his proclamation, "Asia is One." This phrase in his book, The Ideals of the East, and his connections to Bengali revolutionaries resulted in Okakura being remembered as one of Japan's foremost Pan-Asianists. He did not, however, write The Ideals of the East as political propaganda to justify Japanese aggression; he wrote it for Westerners as an exposition of Japan's aesthetic heritage. In fact, he devoted much of his life to the preservation and promotion of Japan's artistic heritage, giving lectures to both Japanese and Western audiences. This did not necessarily mean that he rejected Western philosophy and theories. A close examination of his views of both Eastern and Western art and history reveals that he was greatly influenced by Hegel's notion of dialectics and the evolutionary theories proposed by Darwin and Spencer. Okakura viewed cross-cultural encounters to be a catalyst for change and saw his own time as a critical point where Eastern and Western history was colliding, causing the evolution of both artistic cultures.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.280-288
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• 2012

The globalized modern society has facilitated the borderless travel which always starts and ends at the airport. The airport now serves the gateway in spreading and delivering the culture, beyond the role of simply providing assistance to the transport means. Nowaday, the nations throughout the world expand the existing facilities or build the new airport competitively as the medium to link the travel and modern community as well as the symbolism of economic and technical improvement and it has been developed as a huge industry creating a high added value, beyond the simple transport services. Incheon International Airport has already been recognized as the world-class airport but still has a long way to go. It's necessary to develop the comprehensive cultural and art concept for sustainable value creation, instead of remaining as the airport with sophisticated facilities alone.

• Journal of the Korean Society of Costume
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• v.38
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• pp.159-178
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• 1998

Genres of the modern arts are expanding the overlapping area between the arts ; ceramics and weaving considered as crafts are devel-oped to the ceramic art and the fiber art, re-spectively. This trend has been also applied to the clothing part, which produced several new terms such as‘art to wear’,‘unwearable art’,‘clothing sculpture’and so on. As following this tendency, the unwearable art is dwelling on the boundary of painting, fiber art and scul-pture, and the clothing sculpture comes from the combination of fiber art and sculpture. While Issey Miyake's dress made of bamboo and Foltuny's pleats dress associated with Greek stone-column introduce the sculpture to the functional fashion design, the works of clothing sculpture become the arts by applying the sculpture to the non-functional unwearable art. Although the clothing sculpture is an interesting subject to be studied continuously for its effect on the contemporary clothing part, it is valuable enough as an unwearable art and sculpture respresenting the artist's concept under the circumstance that the boundary between arts and design is no longer clear, i.e., the clothing and the sculpture come across their regions each other. Furthermore, the clothing sculpture has its own value as a metapor exposing idea, feeling and spirit of the artist in the genre of the unwearable art. With a view point of the abstract clothing concept, the clothing sculpture has been taking the role expanding the clothing to the world of fine art.