• 한국농촌건축학회논문집
• /
• 제11권1호
• /
• pp.1-8
• /
• 2009

The study performed literature survey and research on the actual condition of cultural facilities for planning a reasonal architectural plan of being prearranged Gwangcheon cultural art center erection at the old central district of Gwangcheon-Eup(town) in Hongseong-Gun(County), Chuncheongnam-Do(province). It was verified that the law and regulations related with cultural art facilities did not make clear statement of the concept of cultural art center and classified it as a public performing place of a kind of performance facilities. The types of cultual facilities could be classified as performance facilities, libraries, regional cultural welfare facilities, cultural promotion and instruction facilities and they were studied respectively. The main functions of cultural art center was studied with art enjoyment function and art creation function. Through the research on the actual condition of cultural facilities, it was found that there were 12 cultural welfare facilities in Hongseong-Gun(county) however there was no cultural facilities in Gwangcheon-Eup(town) except 1 libraries. So the building of Gwangchoen cultural art center is needed. The location Propriety analysis is conducted and proved appropriated. On the basis of the above studies, the direction of planning, conception of Plan and facilities program were conceived and finally the architectural plans were proposed.

• 한국비블리아학회지
• /
• 제26권3호
• /
• pp.177-206
• /
• 2015

본 연구는 공공도서관의 문화프로그램 중 미술 분야의 프로그램 개선을 위한 것이다. 이를 위해 공공도서관의 미술 관련 문화프로그램에 관한 문헌연구, 국외 공공도서관에서 수행하는 미술 관련 문화프로그램 사례조사, 국내 공공도서관의 프로그램 담당자와 이용자를 대상으로 한 설문조사를 실시하였다. 이들 내용을 토대로 국내 공공도서관의 미술 관련 문화프로그램 운영 개선을 위한 지침을 운영 요소와 내용 요소로 나누어 제안하였다. 본 연구는 향후 공공도서관에서 미술 관련 문화프로그램을 기획하고 운영하는데 활용될 수 있을 것이다.

• 미술이론과 현장
• /
• 제4호
• /
• pp.7-32
• /
• 2006

This study is about the cultural policy related to fine art under the U. S. Military Government in Korea(USAMGIK), from September 8, 1945, to August 15, 1948. Drawing on the previous studies of Korean art history in the 'Liberation Period', this study especially concentrates on intention, attitude and activities of the USAMGIK. Particularly the historical documents, stored at the National Archives at the College Park, Maryland, U.S.A., were valuable to do research on the cultural policy of USAMGIK. The cultural policy was subordinated to the political objectives of occupation that can be summarized to building a stronghold of anti-communism in South Korea. Under the U.S. Military government control, cultural matters were assigned to the Cultural Section, the Bureau of Education, which later turns into the Bureau of Culture, the Department of Education. The Bureau of Culture dealt with matters of the ancient Korean art treasures and of the Korean contemporary art. USAMGIK reopened the Korean National Museum which had been closed by the Japanese since the World War II period. After that, U.S. Department of State sent arts & monuments specialists to South Korea for investigating ancient Korean art and culture. Although some of the destructed art treasures were restored during the occupation, th ere were many negative cases including intentional destruction of historic sites or loot of art treasures by U.S. army. In contrast to their interest in the Korean antiquities, USAMGIK payed little attention to promoting the Korean contemporary artists and their arts. USAMGIK distrusted and suppressed the artists of leftism, while they kept good relations with the pro-American artists and the right-wing artists. In conclusion, the visual-cultural policy of USAMGK was mainly planned and carried out in order to preserve the national interest of the United States. This period produced long-term effects on the fine art and visual culture of South Korea, in terms of institution, policy, and reorganization of art community based on anti-cummunism.

• 한류연구
• /
• 제2권1호
• /
• pp.27-31
• /
• 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.

• 한국실내디자인학회논문집
• /
• 제24권3호
• /
• pp.59-68
• /
• 2015

As the economical and cultural levels become higher, the public have more various and new cultural desires, leading to an increase in the number and kinds of cultural facilities. Out of all the cultural facilities built in such a trend, art museums are the yardstick for a certain nation's cultural level, and the number of art museums is gradually increasing every year in Korea, as a cultural space where the public can make cultural exchanges with artists. On the contrary to the increasing number of art museums, however, the number of art museum visitors is decreasing every year, so various attempts are made to activate art museums in Korea. Thus, this study aims to seek a plan to activate the space of an art museum by improving the physical movement of art museum visitors, especially targeting small-sized ones out of all the art museums in Korea. For accurate analyses and verifications, this study used the visibility-ERAM program. As a result of analyses, this study found out and reconsidered several problems related to the space of art museums, and based on the results, the researcher could verify the related hypotheses, further comprehending possible errors of the proposed solution to those problems and supplement in a short period of time. Since such an analysis method and process has objective accuracy, it is expected that the results of this study will be used as basic data for future plans to activate the space of art museums.

• 미술이론과 현장
• /
• 제6호
• /
• pp.27-50
• /
• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• 패션비즈니스
• /
• 제24권3호
• /
• pp.114-120
• /
• 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.

• 조형예술학연구
• /
• 제7권
• /
• pp.206-226
• /
• 2005

• 국토계획
• /
• 제54권1호
• /
• pp.108-117
• /
• 2019

The purpose of this study is to investigate whether the plan reflecting the place in cultural regeneration was implemented and whether it was a change of place in culture through culture analyze. Mullae-dong has changed its urban structure into a textile factory, a manufacturing industry, an ironworks+artistic complex, and the Mullae art factory has been organizing a festival that has been created by artists and residents alike in the Mullae creative village. However, prior to the creation of the Mullae art factory in the social element, self-sustaining programs of Mullae creative villages were derived, but now commercial space is mainly derived. Therefore, it is necessary to plan for coexistence of ironworks, cultural space and commercial space rather than expanding into commercial space. Geumcheon-gu Geumcheon-gu Geumcheon Art Factory has become an integrated complex where various industries coexist in industrial complex. Geumcheon Art Factory also holds an artist support program every year and actively works as an international creative exchange center in Seoul. However, programs that act as a mediator are not implemented since 2014, and the Open Studio stops once a year. Therefore, Geumcheon-gu needs to expand programs that can include local programs and programs that can be combined with local cultural media.

• 보존과학회지
• /
• 제26권1호
• /
• pp.69-76
• /
• 2010

행정박물이란 공공업무의 활동을 반영하는 유형적 증거물로서 역사적 상징적 문화적 예술적 가치를 지니는 영구기록물이며, 공공기관의 업무수행과 관련하여 생산 및 활용한 형상기록물로 행정적 문화적 예술적 가치가 높은 기록물이다. "공공기록물 관리에 관한 법률"에서는 행정박물을 기록물관리 범위에 처음으로 편입시키고 있으며, 기록물관리법령 제3조에서는 행정박물의 보존 및 관리체계를 법제화하고 있다. 행정박물의 관리는 형태 재질별 분류만으로는 기록으로서 행정박물의 특성을 반영하기 어렵다. 행정박물은 일반적인 기록물과 비교해 다양한 연유에서 수집되기 때문에 행정박물에 대한 기초적인 재질 조사와 적합한 보존 및 관리 방식이 필요하다. 행정박물은 문화재로서 아직 그 수요량이 많지 않으나, 국민 의식수준 향상 및 알 권리를 위한 행정박물의 공개 가능성이 증가되고 있으며, 향후 역사 및 문화의 해석을 위해 보존 활용 가능하며 근대문화유산으로서의 가치를 가질 수 있다. 우선적으로 행정박물의 보존적인 측면에서 열화를 방지하기 위해서는 각 유물별 손상등급을 부분적으로 분류, 관리하여 상태를 점검할 수 있는 표준조사카드를 만들어야 한다. 또한, 다양한 재질의 행정박물에 대한 관리 및 운영 방안을 체계적으로 확립하고 행정박물을 보존적인 측면에서 연구할 수 있는 전문 인력을 육성하여 종합적이고 선진화된 행정박물의 보존 복원 및 활용이 이루어져야 한다.