• Archives of design research
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• v.16 no.4
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• pp.365-374
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• 2003

The purpose of the present study was to improve the artistic qualities in the future fashion design by investigating how the art to wear was applied to the inspiration in the modern fashion design in the late 1990s. For this purpose the present paper examined characteristics in art to wear and their impact on modern fashion design in the late 1990s. Distinguished from the traditional costume, art to wear disregarded a fixed concept on design elements such as the socio-cultural images, materials, and forms. The artists in art to wear freely expressed their "selves" and their individuality to their works in a variety of ways. In fashion design in the late 1990s the creative characteristics of art to wear were reflected in four ways: (1) eco-look, (2) humor, (3) deformation, (4) materials. The present study suggests that the creativity of the art to wear can establish the potentials and possibility in modern fashion design, and art to wear can be a crucial mediator in opening art into the real world.

• 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 Science of Art and Design
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• v.2
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• pp.222-238
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• 2000

The attempts to explain the criterion of art criticism can be divided into three directions. The first is that there is a universal criterion of criticism. The second is that criticism is a subjective impression of each critic. Therefore, there is no universal criterion beyond a subjective impression. The third is that denies both claims. It tries to and the objective criterion which is neither universal nor subjective. In this paper, I will see how John Dewey criticizes the first two theories and holds the third theory. Dewey's denial of the first theory can be seen in his view of the judical criticism. The judical criticism claims that art criticism can be made on the universal criterion, as judical decision can be made on the general rule supposed to be applicable to all cases. But Dewey claims that the judical criticism cannot explain what makes the artist the 'masters'. Defining art as an experience, Dewey claims that art is a process of doing and undergoing, and that art is essentially an interactive activity between men and his environment As environment changes, the experience of the environment also changes. So art should accept the possibility of new experience. But, since the judical criticism advocates of the universal criterion which cannot allow the changeability, Dewey denies it. On the other hand, Dewey's denial of the second theory can be seen in his view of the impressionist criticism. The impressionist criticism claims that criticism is to clarify the impression which is consisted of feeling and imagery the art object evokes. To this claim, Dewey replies that to clarify an impression is to analyze it, and analysis can proceed only by going beyond the impression to the judgement. As we have seen so far, Dewey has denied the judical criticism that there is a universal criterion supposed to be applicable to all criticism. He has also denied the impressionist criticism that there are only subjective responses to the art object, and hence that there is no criterion of criticism at all. For Dewey, these two criticism are based on the same false assumption of the criterion, although their conclusions are different from each other. Both the judical and impressionist criticism failed to realize the difference between the meaning of the criterion as applied in measurement and as used in criticism. Criticizing of these two views of criticism, Dewey claims that there is an objective criterion which is neither universal nor subjective. Art criticism is objective in tv#o senses, i. e., in the first sense that it can be judged by the properties of the art object and in the second sense that it can be verified by the communities of the critics.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.4 s.10
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• pp.63-74
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• 2006

The purpose of the study was to investigate unique field of formative characteristics using copper wire, the present thesis aims at developing concept of hair art as a creative way, and recognizing the formative characteristics of copper wire as analyze and arrange the concept of hair art, formative, a way of practical application, material aspect, through literature, academic journals, photo data, and researched about prior piece, for example, architecture and costume with hair art, and then pieces of hair art were made. Influenced by the theory, applied the social phenomenon and the formative principles, produced the seven pieces which includes flying, composure, yahoo, harmony, balance, way, spring etc. The results of this research are outlined below. Firstly, It showed that the copper wire can express the mysterious and beautiful formative world, and it could know the possibility of design. Secondly, formative activity using copper wire can differ according to approach and interpretation, and it can be a works with aesthetic value. Thirdly, hair could be express the art of the three-dimensional forms which constitute the mixture of line, surface and space. Fourthly, the handicraft including beading, pleat, piping, rolling that used for works are proper to express the unique formative and the rich colors, and it can also express the transparency. So it showed that copper wire is a proper materials. So, hair art has enlarged the fields with development of technique, and changed to recognition of the hair art, and opened up a new field. Hair art will be positive fields to maximize the possibility, and not only the beauty artist but also the public will be communicate each other.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.220-227
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• 2001

Display and art have different purposes. But they share a common mean, so-called artistic experience. These two formative business that seeks the profit as a commercial design, it has some relationship with art in the aspect of socialization of pursuit of aesthetics. Although the historical status and directivity of display have not been established systemiically yet, and aesthetic expansion of displace is uncertain it would be effective that the present and future of display art is connected with art history in the view of dynamic state of art history. In this thesis, the issues such as what is the relationship between display and art history or whether display can be mentioned as a formative art were analyzed by matching them with the trends in art history like naturalism, high tech, minimalists and so on. Modern display is a commercial design that can be developed in various ways and that is related to the as development of art history.

• Journal of the Korean Society of Costume
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• v.24
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• pp.143-155
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• 1995

Unlike pure art such as painting and sculpture, dressmaking , a field of special plastic art, is characterized by its physical and functional nature. Having an inseparable relation with form, it is a field of art expressiion the human innersense of beauty in correlation with other various fields of art. In this respect, I think it should be necessary for us to study the forms of art from the past in order to study the forms of art from the past in order to study the correlations and mutual influencies between forms of pure art and dressmaking and to understand modern dressmaking from the standpoint of art. In this context, this study is an attempt to analze how the form and characteristics of OP ART , which represents the trends of the 1960's is embodied in modern dresses. The results are as follows : Fist , the expression of OP ART in dresses have visual effects harmonizing with bodily movements and , also, expanded the range and dynamics of expression which resulted from the introduction of visual phenomena in a fresh new sense by not limiting itself to the suggestion of patterns of OP ART. Second, OP ART paintings expressed the mobility and rhythimicity of a body in a limited space in a two-dimensional plane way of expression . When a dress is worn, however, it expands such mobility and rhythmicity in a cubic , three-dimensional way, maximizing the effects of , and boldly expression, OP ART, it can also create a new silhuette and ability of formation by seeking an open expression of OP ART rather than an expression of OP ART it self , due to the infinite possibility and unpredictability by the dynamics of movements and the elements principle of designs. Third , by applying the patterns of OP ART to dresses, we can obtain special visual effects of design, cover up the body's weak points, and create a desired three -dimensional sense by highlighting the beauty of the body's curved lines. Although modern dresses and OP ART are different genres of art, both have something in common in their pusuits. Since there is a infinite possibility in OP ART, there should be continuous attempts to combine dresses and art satisfying the sense of the times, which will lead dressmaking to a higher-dimensional dressmaking plastic art.

• Journal of Koreanology Reviews
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• v.2 no.1
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• pp.27-31
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• 2023

The purpose of this paper is to study the relationship between Art management and Cultural activities in China from the K-wave case. Research design, data, and methodology: This study used the method of the cases study survey, with the K-wave case in as the survey objects, 3 valid survey sample case were collected in this paper. Results: The two dimensions of art management and cultural activities differently influences from the K-wave, and the influence of availability on customer satisfaction is not significant. Conclusion: The results of this study will provide useful reference for the Art management and Cultural activities in China from the K-wave case. And improve the development of art management and cultural activities in China by improving the K-wave of service quality. Art management can shape urban commercial space in a beneficial way, create a good consumption atmosphere, and enhance the attractiveness and competitiveness of the city. The introduction of art elements into urban commercial space can create a strong cultural atmosphere, so that the city presents a smart look. Art management has a positive impact on K-Wave production and operation activities, which can promote the shaping of art commercial space, the promotion of urban cultural atmosphere.

• Journal of Fashion Business
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• v.11 no.1
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• pp.38-47
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• 2007

In the modern society that is advancing rapidly, the hair art is also advancing and subdividing. The purpose of this study is to investigate unique field of formative as characteristics and forms of copper wire, focused on such a harmony of hair art, the present thesis aims at developing concept of hair art as a creative way, and recognizing the formative characteristics of copper wire as analyze and arrange the concept of hair art, formative, a way of practical application, material aspect, through literature, academic journals, photo data, and researched about prior piece, for example, architecture and costume with hair art, and then pieces of hair art were made. Influenced by the theory, applied the social phenomenon and the formative principles, produced the five pieces which includes balance, composure, flying, harmony, way, spring etc. The results of this research are outlined below. Firstly, It showed that the copper wire can express the mysterious and beautiful formative world, and it could know the possibility of design. Secondly, formative activity using copper wire can differ according to approach and interpretation, and it can be a works with aesthetic value. Thirdly, hair could be express the art of the three-dimensional forms which constitute the mixture of line, surface and space. So, hair art has enlarged the fields with development of technique, and changed to recognition of the hair art, and opened up a new field. Hair art will be positive fields to maximize the possibility, and not only the beauty artist but also the public will be communicate each other.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.723-733
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• 2011

In contemporary art, the process of appreciating art works requires the dichotomy between traditional art and New Media Art. This difference can be witnessed in the contrasting ways of appreciating art works; in traditional art, a certain physical and esthetic distance is placed between viewers and works of art, and in New Media Art, art is appreciated by active involvement and communication. In other words, this disparity is based on whether viewers physically involve themselves in the completion of the art works. Perhaps contemporary art can be better understood and appreciated if a single primary keyword takes the center place of art appreciation rather than allowing the dichotomy. Thus, a new approach is welcome, where art appreciation is not adversely affected through such divided means based on the degree of active participation. This is not some new introduction of jargon but the reinterpretation of contemplation, the key word for art appreciation in the past, as the common key word for both conventional art and New Media Art.

• Architectural research
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• v.13 no.1
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• pp.3-9
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• 2011

To design and construct a museum of art involves the interest of artists, architects, curatorship, management, and local government. More than this direct relationship, museum obliges the public a mission of delivering genuine public experience through art and architecture. However, most of Modern and contemporary architecture has not delivered genuine public experience of integrated art and architecture. Conceptual message of art and perceptual architectural exhibition space has not been integrated easily. Picture frame canvas initiated this schism and institutionalized museum management hampered the creativity of artists. This schism was overcome through artists' questioning of museum culture and creative works that embrace work and its environment. In contemporary culture, installation art and media art necessitates a new museum format which needs not only exhibition, but laboratory and interface space with viewers. This paper will regroup the existing museum according to its use and strategy, and reinterpret progressive museums that fosters young artists, and more than this, will introduce successfully established museums for new forms of art, which are equipped with versatile exhibition spaces, innovative interface between works and viewers, and own laboratory that can produce works of art. These examples will envision a creative method of art and architecture production that can achieve genuine public experience.