• The Journal of Art Theory & Practice
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• no.9
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• pp.123-150
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• 2010

In his non-hierarchical approach to art making, Robert Irwin questions how art is made. In the process, he seems to come down on both sides of the Modernism versus Postmodernism debate. Insofar as he wants to advance the avant garde tenets of modern art, he can be thought of as a modernist. But insofar as he denies Modernism's claims for transcendental status, he can be thought of as a postmodernist. Irwin's light and space environments, in particular, are conditioned by their basic attachments to their surroundings. They reveal the commonplace, but largely overlooked, richness of visual perception. By encouraging his viewers to open their eyes, Irwin wants them to engage in an act of looking, one that manipulates the basic syntax of seeing. This paper discusses Irwin's contributions to the art of his time (basically the transitional period between Abstract Expressionism and Minimalism) using as an example a light and space environment he created as the backdrop for the "First National Symposium on Habitability." This work was later reprised in 1980 as an independent installation. These works are examined to show how Irwin's art displaces modernist notions of authoritative (and authoritarian) quality with postmodernist ideas of direct (and demotic) value.

• Korean Institute of Interior Design Journal
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• v.16 no.1 s.60
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• pp.21-30
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• 2007

Frank O. Gehry is known to be an architect whose work ranges over different realms, especially between fine arts and architecture. He himself mentioned about this interdisciplinary aspect of his own work: he was inspired by, worked together with, and sometimes directly influenced by contemporary artists. Among the artists, the most influential ones are the sculptors, especially Richard Serra of Post-Minimalism and Claes Oldenburg of Pop Art. Based on this historically known fact, although very brief, this study explores how the features of Post-Minimal sculpture were transferred into Gerhy's architecture, and how Gehry has developed them into his own language. In Post-Minimal sculpture, the main concept 'Anti-Form' was realized by emphasis on materiality, process and intuitiveness of work of in. Those features appeared vividly in Gehry's works especially in his second stage of his life, but seemed to have disappeared in the third stage. However, in the fourth stage, Gehry went beyond the influence of Post-Minimalism, and he created very unique formal language dialectically formed between Post-Minimal sculptural language and his architectural language.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.1-12
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• 2006

The result of this study can be summarized as follows. First, the result of the examination about the theoretical background of the monochrome was influenced by the minimalism and modernism, and consequently the abstract expressionism which is the main trend of the modern painting was formed basing upon the plane feature and unicolor character, and it was recognized that the custom of the plane feature was implied into the monochrome. Second, the aesthetic characteristics such as the beauty of body, beauty of simplicity, beauty of nature, beauty tradition, and beauty whole of the Korean monochrome paintings in 1970s were expressed in the modern fashion as follows. The beauty of body can be told as the dress which exposes the body or See-through look in the modern fashion. The beauty of simplicity is expressed as the most simple and non-decorating minimalism element. The beauty of nature is expressed by using the natural and convenient color without any artificiality. The beauty of tradition is expressed in the Han-bok natural white material. The beauty of whole is easily expressed by using repeated print, partition or overall harmonized beauty.

• Korean Institute of Interior Design Journal
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• v.13 no.4
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• pp.92-101
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• 2004

A rational and logical sense of design often found in modernism(including minimalism) sometime deal with the criticism that such characteristics which derived from those of modernism, lack emotion31 qualities(arises from human feelings). It consequently took them to adopt traditional designs in the past, creating such conditions that constantly escapes from‘present’ one and back to the‘new’. This mode develops a trend in current interior design which decorative elements such as art work: traditional arts, folk crafts, flowers and green are much evident. Thus, using many decorative elements of the past(what was once banned since modernism), brings up the interesting point of view that needs to be discussed a new decorative trend if today's interior design. It will approach by comparing significances of past decorative expressions with present through which investigation, will show a better understanding of recent characteristics in interior designing, a.k.a, a current trend since minimalism, embracing important qualities of culture, ecology and people - against today's less-inspired, standardizing spaces.

• Journal of the Korea Society of Computer and Information
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• v.16 no.10
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• pp.219-228
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• 2011

Main concern will be put at suggesting an alternative idea about the basic notion of the Extended Projection Principle (henceforth, ECP) which has been slightly changed since the initial appearance of the EPP. The EPP had been dependent on Case and theta-role under the era of the early generative grammar, whereas it was reduced only to the categorial feature [D] under the minimalism. Various data such as Locative Inversion constructions, there-expletive constructions, and sentences related to binding theory will be dealt with to suggest an plausible alternative idea. As a conclusion, it will be attested that the SPEC position of the inflectional clause should be filled with a maximally projected lexical item. This conclusion will be reached by analyzing lots of linguistic data.

• Journal of Fashion Business
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• v.16 no.6
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• pp.63-79
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• 2012

Modern art is getting more comprehensive and diversified regardless of genre in many forms due to the pluralism and anti-aesthetic trend of the time which is impacted by post modernism. This atmosphere is also applied to fashion illustration which creates synergy effect in cooperation with many different genres. This study selected Matisse' paper cut-out as the subject which would reflect the minimalism and ionism of modern plasticity. By taking this as the motive for fashion illustration, I made seven illustration works with the subject of minimalism of form and color. The conclusion of this study is as following. First, Matisse's paper cut out has controlled plasticity related to the modern ionism and it well fits the modern trend and sensibility which is appropriate for motive of fashion illustration. Second, by upgrading the technique of Matisse' paper cut-out in a modern way such as combination of hand drawing and computer graphic using Photoshop, I was able to make originative and creative illustration works with background and patterns that were closely connected with each other. Third, applying the fashion illustration to other various products is being well received now and I made my illustrations that could lead to follow up studies to apply the fashion illustration to other different products. Matisse' paper cut-our has forms, colors and patterns that can contain both commercial and artistic value. Therefore it is quite feasible for follow up research to apply into many different areas.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.12
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• pp.93-104
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• 2019

This study set out to analyze the architectural trends in Bell's works and spaces by applying the Gaze theory of Jacques Lacan to his minimalism works, concept changes in their changing process, and the development of exhibition spaces related to him. The findings were as follows: first, his early glass cube works sought after the reproduction of the Real Order through the repeating eyes of viewers and objects by using exhibition lighting; second, his works in the Standing Wall category pursued the reproduction of the Real Order through the repeating eyes of many different viewers around objects; third, his Nesting Boxes tried to reproduce the Real Order of a higher competition level in the perception aspects, making the repetitive elements of Standing Walls converge and including even external environmental elements; fourth, there is no decisive gaze sought after by Judd or the Key Signifiant as the core of Lacan's philosophy in Bell's formative works; and finally, Bell's works pursue the completion of Simulacrum through the infinite repetition of Derrida's Deconstruction Philosophy through the infinite visual repetition sought after by Gehry and Moss in the LA School of Architects who shared the same area and period with him.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.5
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• pp.64-77
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• 2009

In landscape architecture, the pursuit of pluralism requires diverse expression based on cultural and philosophical differences. Landscape architects impart social purposes and spatial relationships to the contemporary generation by providing particular environments that reflect the culture of the day. Particularly, landscape architects reflect contemporary art in their design works and express the characteristics of the arts of the day in real spaces. Historically they have sought motives from all fields of art. The plastic concept in landscape design is based specifically on paintings that directly influence spatial composition. Minimalism in landscape architecture contributes to the formation of artistic characteristics that can be explained to improve artistry in landscapes as aesthetic objects, which were eliminated in the modernist era, and to realize contemporary art. By interpretively studying design works, therefore, this study reveals plastic concepts' influence on landscape design affected by minimalist art. The characteristics of plastic concepts in minimalist landscape design can be summarized as follows. First, the reduction of Minimalist Landscape is meant for viewers to immediately understand a work's identity and to easily perceive its intention by using design language implied by the pure geometric forms such as circles, triangles and squares. Second, the extension intends to seek internal order by connecting design elements mutually and externally to provide visual direction by adopting linear expression. Third, the flatness that defines meaningless space tends to overlay additional elements on a flattened site to induce the perception of a sequence of landscapes and to patternize pavement to improve its visual image. Finally, seriality has two characteristics: to make centrality in space and to compose by repeating formative elements and materials based on the pursuit of a site's totality, rather than an individual space's originality.

• The Journal of the Korea Contents Association
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• v.20 no.3
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• pp.200-208
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• 2020

The domain of Web design gradually expands with the utilization of the Web and the development of technologies, but there are insufficient related studies. Thus, this study would recognize the importance of the Web design market and present the direction of designs in the future by investigating the process of changes in Web design. This study investigated the background of the revelation and evolution of design expression techniques and the flow of the information technology affecting the design and conducted a study analyzing the process of changes of Web design based on this. It is judged that this study has significance as the baseline research material for the expansion of the Web design domain of the future. As for the scope of the research, based on 30 years of the history of the Web, this study was conducted with materials on Websites, which had become issues from 1990 through the early-2000s and selected the winners of a grand prize in Web Award Korea since the mid-2000s as the subjects of analysis. This study analyzed the formative characteristics of design expression techniques and the characteristics of the information technology that affected Web design. As a result of the research, changes in design expression techniques could be divided broadly into minimalism and skeuomorphism, and it was found that the methods of expressing Web designs changed in various ways, affected by the development of information technology. It is predicted that with the emergence of various devices and the vitalization of video contents, the designs affected by minimalism, which can harmonize with them, will continue in the future.

• Journal of the Korean Society of Costume
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• v.54 no.1
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• pp.109-123
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• 2004

In this study, the fashion trend after the 1990s and the characteristics of fashion in the postmodernistic viewpoint that mainly effected fashion were observed, and the characteristics of fashion illustration expression was observed in the viewpoint of its link. It can be seen that mutually close characteristics are mutually linked. As the result of this study, the characteristics of fashion illustration can be categorized into three areas. and the sub-concepts are as following. The first category is the pursuit of feminine beauty of individual multi-dimension. This includes- 1) retro feminine beauty; 2) fetishistic and ecstatic feminine beauty; 3) mixed composition genderless (mixed composition style. ageless style and raceless style): and 4) beauty of body deconstruction and reconstruction (deformation due to partial transformation, change into animalization, mechanization and spirituelization. and beautification of crudeness). The second is the intentional deviation of expression and production technique. This includes-1) deviation from traditional perspective; 2) deviation from composition concept: and 3) breaking away from the existing material and expression technique of material. The third is the pursuit of authority-rejection form of expression. This is an area that should be noticed in the fashion illustration expression of the 1990s, as it shows the most diverse phenomenon. The sub-concepts of this category include- 1) separation of art 2) minimalism (minimalism in structure and production method); 3) flatness; 4) completion of incompletion; 5) accidentalism; 6) sportive;7) absence of figure; 8) intentional childishness 9) story development; 10) techno mechanism and cyber character; and 11) animation style.