• 국토계획
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• 제54권3호
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• pp.5-14
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• 2019

Starting with the market vitalization project in 2008, The Gwangju Dae-in Art Market has attracted to many artists, changing into cultural and art market. After the project was carried out for a certain period of time, a study was conducted to determine the differing opinions of the artists and merchants in regards to the market. The study also examined and analyzed the factors affecting the artists' continuous activities. The difference in recognition perception between artists and merchants was analyzed through a T-test. PLS-regression analysis was used for the artists' continuing intention to work. As a result, the artists and merchants recognized that the number of visitors increased after the influx of artists. Programs that had a positive impact on the artist's intention for sustainable activities were as follows: the 'Art Products Creation Workshop', where artists, merchants, and citizens collaborate to develop commodities needed for the market; 'Hanpyeong Gallery', where artists directly or indirectly interact with merchants and citizens; the 'Artist-Merchant Workshop', where artists and merchants produce articles required for the market; 'C'est Si Bon', which expresses the placeness of the market into art; and the 'Dae-in Art Night Market', where citizens, merchants and visitors can sell their own works. On the other hand, programs with the negative effect were those where artists' participation was low or none, as the policy implications, they should be actively develop this type of programs, where artists could participate and interact with citizens and merchants, like this visitors and sales can be increased.

• 미술이론과 현장
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• 제15호
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• pp.111-135
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• 2013

This study explores gender images represented in the works of women artists from the Middle East, where male chauvinism is recognized to be more predominant than elsewhere. The artists included in this study such as Mona Hatoum, Shirin Neshat, Lida Abdul and Sigalit Landau are Post-Feminist generation of artists who were born in the Middle East but spent significant amount of time in the West. In addition, they were trained as artists under the influences of the Western Feminist Art. This particular group of female artists pays much attention to the ontological question of their identities rather than male/female inequality, and each artist represents men and women in the ways that can hardly be found in the works by women artists in the West. These artists not only connect gender identities to the socio-political geography of the Middle East but also deconstruct Western stereotypes of men and women from Arab world. The paper focuses on the way these women artists incorporate male/female vs. culture/nature dichotomies into their works to subvert the premises on which Western Feminism has been based and not only to cast light on women's freedom and their ontological conflicts but also to emphasize social suppression inflicted upon men. In such process, these artists resist stereotypical images of Middle Eastern men and women widely circulated in the mainstream media of the West.

• Asia Pacific Journal of Business Review
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• 제3권1호
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• pp.39-55
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• 2018

This study emphasizes the necessity of implementing political supports for artists and suggests several details to develop related industries. For these objectives this study analyzes the trend in related researches and overhauls the aid system. It then comes up with results about how artists are aware of the supporting system by conducting a survey of 140 artists. The result of summarize as follows. First, most of the artists have severely limited access to government-funded or private aid programs. This signals the urgency of establishing an integrated portal site since the artists aren't evenly offered the information they need. Along with this, artists should note that the main purpose of this portal site is focused on providing information related to livelihoods. Secondly, the analysis shows the lack of infrastructure for supporting artists. Both governmental and private sectors should take charge of establishing art consulting agencies which can bring efforts to improve rights and interests of many artists via a number of channels. Supporting artists also presents its necessity about solving social problems besides the one suggested by previous studies. This study has its significance by implying the actual perspectives of artists while most of the related studies are rather theoretical.

• 한국콘텐츠학회논문지
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• 제18권8호
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• pp.483-493
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• 2018

예술인의 직업적 지위와 권리보호를 위한 법 제도인 노동관계법, 사회보험법, 예술인복지법의 개선을 통하여 근로자성 인정, 고용보험법 가입특례, 국민건강보험법과 국민연금법 적용특례 등이 인정되어야 한다. 이를 위해 노동관계법에 대한 법원의 해석이나 입법에 의해 근로자 범위를 확대해야 하고, 현재 제외되어 있는 예술인의 고용보험법 가입 특례와 국민건강보험법 적용 특례 등 사회보험의 지원범위도 넓혀나가야 한다. 보험료 전액 본인부담에 임의가입 방식인 예술인 산재보험제도도 보험료 지원을 통해 제도의 실효성을 가져가야 한다. 예술인복지법 역시 예술인에 대한 법적 보호를 강화하는 등의 내용으로 개정이 필요하다. 또한 예술인복지사업에 대한 재원의 확보도 중요하다. 그리고 표준계약서를 의무화하고 예술인의 경력증명시스템을 구축하여 예술 활동기준을 적용해 복지수혜가 필요한 예술인이 누락되지 않도록 해야 한다.

• 한국콘텐츠학회논문지
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• 제15권6호
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• pp.115-124
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• 2015

최근 예술가의 노동자로서의 지위 보장과 근로환경개선, 복지제도 마련에 관한 논의가 우리 사회에 일고 있다. 이 연구는 미국뮤지컬산업에서 중요한 역할을 하고 있는 다양한 예술가조합의 성립과 변천과정의 핵심적인 내용을 검토함으로써 예술가들 간의 이해관계를 조율해 온 내용을 살펴본다. 미국 공연예술분야는 오래 전부터 배우조합, 제작자조합, 극작가조합, 무대기술인조합, 연출자 안무가조합 등의 활동이 활발하여 회원을 모아 결집하여 파업을 하거나 소송을 제기하면서까지 예술가들의 처우개선과 창작에 대한 보호를 확장시켜왔다. 이들 예술가 조합의 형성과정과 그 속에 나타난 예술가들의 권익신장에 관한 여러 쟁점들은 우리나라 뮤지컬산업에서의 개별 공연계약에 많은 참고가 될 것이다.

• International Journal of Advanced Culture Technology
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• 제9권3호
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• pp.243-252
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• 2021

The Gwangju Daein Art Market, once declared as a declined market, was regarded as a success after an inflow of artists. However, the number of resident artists decreased from 100 at the end of 2015 to 39, to 9 in 2018, and to 6 in 2021. The project site showed signs of decline toward the completion of the project, leading to a Longitudinal study on the project's sustainability. The purpose of this study is to investigate the causes of outflow of artists and the network characteristics of the remaining artists from a sustainability perspective and thereby draw policy implications. As an analysis method, in-depth interviews and surveys were conducted. After that, we checked the remaining artists in 2018 and 2021 and identified the network characteristics. Based on the interview results, the causes of outflow were classified into programmatic, physical, and other factors. The results of a comparison showed that the levels of understanding, satisfaction, and frequency of exchange decreased. The study also provides policy implications. First, a sustainable, long-term program for the artists must involve the improvement of physical space. Second, participation in the market should be encouraged by working with artists on program composition or business progress. Third, programs for supporting exchange among artists should be further strengthened.

• 한국의상디자인학회지
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• 제19권2호
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• pp.79-90
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• 2017

The main purpose of the study was to explore effects of selection criteria of collaborating fashion companies on the partnership growth of collaborating artists with those companies. Secondly was to find differences in the selection criteria of collaborating fashion companies and the partnership growth of collaborating artists according to the characteristics of artists including gender, age, frequency and time period of collaboration. The questionnaire was developed by the researchers and was collected from 50 artists with experience in collaboration with fashion companies. The questionnaire was composed of three parts including the selection criteria of fashion companies, partnership growth measured by a Likert-type scale, and characteristics of artists measured by a nominal scale. Data were analyzed by a frequency test, factor analysis, reliability test, regression analysis, and independent sample t-test using SPSS Win 18.0. The results of the study showed that significant effects of the selection criteria of collaborating fashion companies on the partnership growth of collaborating artists with the companies. Also, there were differences in the selection criteria of collaborating fashion companies and the partnership growth of collaborating artists between artist groups according to the characteristics of the artists including gender, age, frequency and time period of collaboration.

• 보건교육건강증진학회지
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• 제19권1호
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• pp.185-197
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• 2002

This study was conducted to analyze the factors affected morbidity for beauty artists of the limited range of motion about cerviacl, shoulder and wrist, from July 15 through August 30, 2000. Questionnaires were distributed to 373 beauty artists working in beauty shops of Taegu city. The factors included general characteristics, working conditions, life style and regular diagnosis of subject. The data collected were analyzed by SPSS program and the results of this study are summarized as follows; By the marital status, 224(86.5%) out of 259 unmarried beauty artists had the complaint of a neck(P〉0.05), and by the status of education, the complaint rate of a shoulder of beauty artists who graduated university(92.9%) is the highest(P〈0.01). In survey of complaint rates of symptom by the sleeping place, 324(86.7) out of 373 subjects had the pain in shoulder(P〈0.01), specially, beauty artists who are sleeping in bed complained the pain in shoulder more the others, in survey of complaint rates of symptom by sleeping pose, there was the significant different in neck(P〈0.01) and shoulder(P〈0.001). In survey of complaint rates of symptom by regular diagnosis, 61(85.9%) out of 71 beauty artists who took regular diagnosis and 263(87.4%) out of 302 beauty artists who didn't take regular diagnosis(P〈0.05). In conclusion, beauty artists who are on their feet for long time by official trait complaint the pain in neck and shoulder mainly. This result occurs from complex action of general characteristics and work condition and so on. In order to promote the health of beauty artists, there are needs for moderate exercise and regular diagnosis.

• 복식
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• 제51권3호
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• pp.59-73
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• 2001

This paper is to examine the meaning of activities of a number of artists who belong to Constructivism in the fashion design area during early twentieth century. After Russian Revolution, the artists like Nadeshda Lamanowa, Ljubow Popowa and Warwara Stepanova decided to devote to practical art area for many People. It's very meaningful for them to jump into real work places like a textile mill and a clothing workshop instead of staying in fine art area. Constructivism is more related to social interest rather than individual thing. The artists tried to apply their modeling principles in fine art to dress making. We can see the geometrical lines and shapes and big differences In colors and material in their dress. The artists had also shown personal tastes to dress works. This idea of togetherness with their time and even to create the style of it. was very renovative at that time and gave an influence on the later styles.

• 복식문화연구
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• 제15권1호
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• pp.152-168
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• 2007

The aim of this study is to shed light on essentials of Suprematist artists focusing on Malevich and their works in relation to modem design, and to examine their roles in the modem design industry compared to those of modem designers. The study obtains the following result on Suprematist artists and their works in Russian avant-garde in terms of modem design. Firstly, Suprematist artists had a great deal of interest in practical design although it seemed Suprematist were replaced by utilitarianism in avant-garde during the Russian revolution. Secondly, Suprematist artists were the first artists to bring the birth of modem design trends by applying their art in geometric forms to clothing and fabric design as well as ornaments and handicraft. Thirdly, the artists' attempt to work with needle workers made it possible to set achievements in design and modem decorative art exhibitions in various fields of art-life. As for the role of modem designers, Suprematist artists including Malevich have significant meanings as follows: Firstly, Malevich was a creative, future-oriented artistic designer who realized zaum of painting on the stage and created suprematistic mode in a cosmic point of view in order to agree with the environment. Secondly, Suprematist artists knew the importance of works that were produced by craftsmen and worked together with them. Therefore, the designers could maintain fabric decoration in difficult conditions knowing the importance of the high value-added industry. Thirdly, they were artists in real life who embodied the ideas and theories of Suprematist in sample works by recognizing the need of changes in life environment: they planned to set a new visual world in art but did not confine the idea only to painting.