• Acta Via Serica
• /
• v.2 no.1
• /
• pp.49-64
• /
• 2017

During the seventeenth century, Amsterdam experienced unprecedented growth and affluence, and the city developed into the world's staple market playing an indispensable role in Silk Road trade. This era, which coincides with post-reformation Dutch society, also allowed artists to produce art works depicting objects from everyday life, moving away from the earlier religious subject matter. This paper intends to look into seventeenth century Dutch paintings from their social setting, especially focusing on the influence of the Silk Road in the art making process. The paper also looks into the Chinese side of Silk Road interaction and discusses how Chinese porcelain reflects cultural influence from the Dutch. The paper incorporates Silk Road as a methodology to discuss art works departing from earlier practices in art history. This approach allows us to understand art as a product of multi-disciplinary, multi-cultural experience. The methodology invites more discussion on numerous art forms which emerged along the Silk Road trading route to expand and explore the history of East-West cultural exchange.

• The Journal of Art Theory & Practice
• /
• no.14
• /
• pp.87-124
• /
• 2012

This paper focuses on the social implication of new media art, which has evolved with the advance of technology. To understand the notion of human-computer interactivity in media art, it examines the meaning of "cybernetics" theory invented by Norbert Wiener just after WWII, who provided "control and communication" as central components of his theory of messages. It goes on to investigate the application of cybernetics theory onto art since the 1960s, to which Roy Ascott made a significant contribution by developing telematic art, utilizing the network of telecommunication. This paper underlines the significance of the relationship between human and machine, art and technology in transforming the work of art as a site of communication and experience. The interactivity in new media art transforms the viewer into the user of the work, who is now provided free will to make decisions on his or her action with the work. The artist is no longer a godlike figure who determines the meaning of the work, yet becomes another user of his or her own work, with which to interact. This paper believes that the interaction between man and machine, art and technology can lead to various ways of interaction between humans, thereby restoring a sense of community while liberating humans from conventional limitations on their creativity. This paper considers the development of new media art more than a mere invention of new aesthetic styles employing advanced technology. Rather, new media art provides a critical shift in subverting the modernist autonomy that advocates the medium specificity. New media art envisions a new art, which would embrace impurity into art, allowing the coexistence of autonomy and heteronomy, embracing a technological other, thereby expanding human relations. By enabling the birth of the user in experiencing the work, interactive new media art produces an open arena, in which the user can create the work while communicating with the work and other users. The user now has freedom to visit the work, to take a journey on his or her own, and to make decisions on what to choose and what to do with the work. This paper contends that there is a significant parallel between new media artists' interest in creating new experiences of the art and Jacques Ranci$\grave{e}$re's concept of the aesthetic regime of art. In his argument for eliminating hierarchy in art and for embracing impurity, Ranci$\grave{e}$re provides a vision for art, which is related to life and ultimately reshapes life. Ranci$\grave{e}$re's critique of both formalist modernism and Jean-Francois Lyotard's postmodern view underlines the social implication of new media art practices, which seek to form "the common of a community."

• The Journal of Art Theory & Practice
• /
• no.14
• /
• pp.187-215
• /
• 2012

In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are postmedium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms-contemporaneity, post-medium, and postproduction-that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don't disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at "the postproduction in the age of post-medium age after postmodernism," I first explore Krauss's notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss's post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists' responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud's text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

• The Journal of Art Theory & Practice
• /
• no.7
• /
• pp.7-36
• /
• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Journal of the Korean Society of Costume
• /
• v.61 no.7
• /
• pp.80-100
• /
• 2011

The purpose of this research is to classify that fashion and art in the twentieth century broadened the creative field by individually applying each other's ideas or through collaboration. This paper analyses the work of individual artists and fashion designers who created work on the boundaries of fashion and art. These samples are selected to extract features related to specific periods as it is proposed that contemporary creation has been developed from a combination of fashion and art, sharing their distinct concerns. Accordingly, this research will focus on the collaboration between fashion and art in the twentieth century from the aspect of 'fashion into art'/'art into fashion' in order to analyse the historical flow, and thereby examine the relationship between fashion and art. The cross-fertilization between fashion and art was initiated as an imitation of form in the early twentieth century, and led to a 'new cross-disciplinary form' which exists on the boundary of fashion and art. This paper considers the relationship between fashion and art from the perspective of sharing intrinsic concepts and the creation of a new creative sphere. It analyses the characteristics of the works of fashion designers and artists whose works lie on the boundary between fashion and art.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.5
• /
• pp.155-160
• /
• 2022

This paper intends to focus on the practical activities and historical significance of network art, that is, 'net art' as an artistic form that depends on network technology. This is because the appearance of net art, which constructs a new interactive art that cooperates and exchanges with each other beyond the boundaries of time and space, can be a contemporary alternative in overcoming the limitations of traditional art. Another important research area to be considered in this paper is net art curating, as well as considering the significance of net art in art history. As new media art that is defined as a 'process' rather than a complete object, net art is a digital art that requires functions such as aesthetic appropriation, dissemination, and mediation performed online, unlike physical presentations with high perfection in exhibition halls. It is accompanied by a new social and cultural curatorial. This appearance requires both artists and curators to reorganize the strategy that net art curating in technoculture should have. Therefore, this paper attempts to question the creative strategies of net art in the wave of globalization in the 21st century, and to examine the artistic meaning and critical value of the experimental net art curatorial method that emerged through the realm of new technology and media. For this purpose, this paper demonstrated key examples of net art works and exhibition projects that started with Fluxus in the 1960s and are spreading all over the world in the 2000s.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
• /
• v.17 no.6
• /
• pp.175-193
• /
• 2022

Although there is paradigm shift in art industry and interdisciplinary convergence between art and entrepreneurship, little has been done in "art entrepreneurship." First, this study organized the concepts of art entrepreneurship and conducted literature reviews on the trends of international and domestic research. Second, this paper aimed to understand the concept of art platform business. To do so, authors reviewed the general concept of business model and special features of platform business. Third, this paper categorized and introduced 11 art platform businesses from the based on the purposes of companies (① rental & selling, ②commercialize & selling, ③crowdfunding, ④information sharing & digital exhibition). Forth, this study provided two frameworks (①business model components, ②platform controllability and customers' information asymmetry) and applied them into 11 cases. By systematically reviewing the previous studies, this paper expects to increase scholarly understanding of the field of art entrepreneurship where two different areas (art and entrepreneurship) have studied separately. In addition, introduction and analyses of 11 online art platform have practical implications.

• The Journal of Art Theory & Practice
• /
• no.3
• /
• pp.9-34
• /
• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• Journal of Digital Convergence
• /
• v.18 no.9
• /
• pp.351-356
• /
• 2020

This study is an introductory study on Convergence of Traditional Chinese Paper-cutting Art and Contemporary Ceramic Decoration. As a part of Chinese folk art, now newly developed by the convergence of contemporary ceramic ar, today it promotes artists' creativity and find a alternative way for ceramic art. This mainly explore transition of 2 dimentional paper-cutting art into ceramic art. As a part of convergence art, this study suggest combination of 4 elements yin-yang-true-false with understanding of its history and contemporary status, and towards aesthetic values.

• The Journal of Art Theory & Practice
• /
• no.10
• /
• pp.47-61
• /
• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.