• 미술이론과 현장
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• 제5호
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• pp.25-41
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• 2007

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."

• 비교문화연구
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• 제45권
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• pp.33-54
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• 2016

본 연구는 프랑스의 시인 기욤 아폴리네르, 폴 엘뤼아르와 한국의 이상의 시에 나타나는 상형적인 시어들에 대한 비교 분석이다. 그들은 글꼴이나 문장의 모양과 행간을 회화적으로 배열하는 타이포그라피 기법을 응용하고, 알파벳의 철자, 수학적 기호, 원이나 점, 선 등의 도형적 요소들을 혼용하여 특징적인 시화를 펼쳐 보인다. 시각적인 서정으로 평가되는 그들의 작품은 반시어들이 조화를 이루고 있으며, 기존의 시어나 문법의 규범을 벗어난 글자와 기호들의 자유로운 구사는 병렬적이고 대립적인 특성을 보여준다. 그들의 상형적 시어들은 공간의 확장과 같은 역동적인 이미지를 불러오고, 이상의 기하학적인 기호들을 응용한 상형적 시어들은 형이상학적이고 추상적인 그림시로 형상화된다. 결과적으로, 우리가 분석한 세 시인들의 상형적인 시어들은 조형의 미학으로 귀결된다. 변형된 글자와 암호와 같은 기호의 회화적 구성은 시적공간의 확장이 불러오는 입체적 미학을 구현하고 있다. 나아가 세 시인의 상형적인 시어들은 프랑스와 한국의 현대 시문학에 파격적인 표현기법으로 당대의 새로운 예술정신과 해방정신을 실현한 전위적인 시적 언어들로 평가할 수 있다.

• 한국패션뷰티학회지
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• 제6권2호
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• pp.119-128
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• 2008

The surrealism art form comes from the world of unconsciousness. Based on its expression of the world of imaginary, it boldly demonstrates the arrangement and the forms of contradicted objects and the development of collage, montage, and protage techniques in the works which had a big influence on the growth of the modern art. The ideology and the modeling characteristics shown in the surrealism had various expressive forms and meanings in the modern compound expression and it grew out of the former standarlized forms and brought diversity and individuality based on the sensibility of the new avant-garde art form and showed great potential as it presented harmony in the multiple forms of art. The purpose of the research was to analyze the influences that were put on the surrealistic fashion art works and the works of the representative designer, Jean Paul Gotie. The characteristics of Jean Paul Gotie's surrealistic fashion comes from destruction, sexual image, and the mixture of heterogeneous. It is evident that the surrealistic fashion went beyond certain groups of avant-gardists' salvation of the world and were put to practice use, reaching out to the ordinary consumers. This was resulted from the revolutionary movement called, "anti-mode van fashion" led by Gotie. The surrealistic style will be led by various techniques and trends and developed through new characteristics in multiculture merged with various fashion styles.

• 건축역사연구
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• 제8권1호
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• pp.63-80
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• 1999

Poet, Yi-sang, born in 1910, originally studied architecture in Kyeong Sung High Technical School. He also experienced an architectural practice in Chosun Chongdokbu (the Government office of Japanese empire in Korea) during 4 years. After resigned the post of architectural engineer in 1933, he became a man of letters. Until his death in 1937, he published the writings hard to understand, which remind us of the works of western avant-garde. Because of the peculiarity and difficulty of his poem and novels, he becomes the object of studies by many critics and historians of literature. And he is estimated as the representative of Korean modernism. This study tries to related Yi-sang's early poems to architectural discourse for the search of 'modernity' of Korean modern architecture. His early poems, which is published in from 1931 to 1933, are worthy of notice because they contained a acute shock derived from radically changed spacial structure, the absolute emptiness of the individual happened in the 1930's Seoul. They also show a different attitude from the writings of Park Dongjin and Park Kilryong, the architects contemporary with Yi-Sang. Compared with their writings, Yi sang's early poems had an insight into the totality of modern culture like western avant-gardes. Therefore Yi-sang's early poems can give us a good base to understand the characteristics of 'modernity' of Korean architecture.

• 건축역사연구
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• 제7권3호
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• pp.121-135
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• 1998

This paper aims at understanding the Characterics of Architectural Education Methodology in Hannes Meyer's Bauhaus. Through the analysis of his Bauhaus curriculums, writings and works, especially Co-op designs and buildings, this paper investgates the problems caused by functionality, diagramic organization of modern life and sociality, and grasps the meaning of his works. Meyer realized the possibility of Bauhaus education system resulting from mechanical and technological progress, and pursuited the architecture for the proletarian masses. According to analysis, functionality and critical sociality were adopted to criticize bourgeosie humanistic architecture, it reveals Hannes Meyer's architectural Avant-garde strategy.

• 복식문화연구
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• 제15권5호
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• pp.825-837
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• 2007

To analyze the design of Christian Dior, 216 pieces of Dior's works were collected and studied from the COLLECTION(Seoul: Dong Ah TV) from 2003 to 2005. The result is as follows. In recent three year period, Christian Dior maintained the feminine image and implemented different additions such as sexy, ethnic, avant-garde and casual image in every season. Also, to reflect a new trend or fashion sense, images of ethnic, retro, hippie or vintage were applied. In using color, different main color(YR, R, Y, BG, RP, B) were chosen every season to pursue variations. For the pattern usage, feminine beauty was presented by numerous applications of flowered pattern. Also the practice of pattern and hue in different rations in every season pursued variations in design.

• 복식
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• 제53권2호
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• pp.57-70
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• 2003

Modern Haute Couture represents artistic views through its image. symbol, and originality. Haute Couture's original art has been kept as a design technics which is the fusion of timely, original Maison's concept, plastic beauty as designer's personality. Christian Dior's maison continued by Yves Saint Laurent, Marc Bohan, Gianfranco Ferr'e and John Galliano who emphasize elegant image which has avant-garde trends came from post modernism. Christian Dior Haute Couture's design which can be symbolized by the feature of timely variation and new feeling of continuing designers has the following originalities. 1. Christian Dior Haute Couture's design has been affected by the timely art-trends. 2. Christian Dior Haute Couture's design concept is represented as Nobly Chic Elegance. Feminine Elegance. Sophisticately Chic Elegance, Fantastically humourous Elegance therfore, the traditional concept of Elegance are maintained. 3. Christian Dior Haute Couture's design technic not only emphasizes the details of collars and up side of clothes or trimming but also persuits the total beauty of balanceness with the harmony of the evenness between other factors.

• 한국의류학회지
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• 제33권7호
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• pp.1098-1108
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• 2009

This study finds the meaning of Anti Couture in the examination of the tendency and characteristics of aesthetics sense of Anti Couture in Contemporary Fashion. Anti Couture disregards the traditional composition and takes some subcultural elements, moreover, have the Anti-decoration characteristics of disproportion, disharmony, asymmetry, inperfection, and irregularity such as Japanese fashion. This study analyzed 600 works from 2000 S/S to 2008 S/S to figure out the Anti Couture to summarize the eclectic, humorous, avant-garde, poor, and minimal tendencies. The characteristics of the aesthetics sense of Anti Couture according to the tendency are analyzed into ambiguity, deformation, eclecticism, deconstruction, and artless art.

• 한국가구학회지
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• 제22권1호
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• pp.34-41
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• 2011

Surrealism is 20th century avant-garde art movement that gave the greatest impact. Surrealism art as Visual us consciousness that exists or is worth checking out. 1920 around the concept of the surreal appears on the Visual language is fine art molding, including design, fashion, advertising, etc, all of the art field. In addition, their artistic concept is limited to pure art without the commercialization and product as the transition you want to find a way to be. As a result, the concept of the surreal fine art as well as the design sector in particular, furniture design, but many more impact art trends. Therefore, this study examines the concept of the surrealism, appeared in the furniture design based on surrealism representation of research aims. And how these representations are modern furniture design in any affected for research. Representation and features about the analysis is largely four separated by the survey, and classified representation of research and analysis features.

• 한국멀티미디어학회논문지
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• 제21권10호
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• pp.1211-1220
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• 2018

Maya Deren is well known as the 'mother' of the American avant-garde films by her first short, Meshes of the Afternoon (1943). One of the major contributions of Maya Deren's theoretical body of work to the visibility was the invention of a new vocabulary for independent film-making such as 'film-poems', and 'choreo-cinema'. To create experimental film forms, she chose poetry, dance, architecture and music as a metaphor to describe her images. On the top of these arts, Maya uses camera works and editing system to achieve an 'artificial reality' whose character is miraculous in that living whole, in order to help the audience to experience a protagonist's psychological journey.