• Archives of design research
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• v.14 no.3
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• pp.7-14
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• 2001

Modern graphic design is creating a new area of graphic design due to the development of computer technology as it changes the existing world of graphic design with a variety of advanced style of image. It is true, however, that the basic principles and images in the modern design are influenced by the visual principles and methods elaborated and changed by the numerous creative works that is well representing the visual features of graphic design trends from the early 20th century to the mid century. The style of graphic design at the time which is generally referred to as 'modern graphic design' went through Pictorial modernism, Constructivism, De Stijl, Bauhaus after the beginning of 20C design, Art Noueau. It spread over the world in the ear of Swiss graphic design and New York graphic design that create the basic principles and styles in modern graphic design. This study examines visual features and flow of graphic design from the early years in the 20th century to the middle of the century, the foundation ear of principles in the modern graphic design. It will give a systematic and fundamental understanding of graphic design and visual features of it while it will be in a research process to create a new graphic style.

• Cross-Cultural Studies
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• v.33
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• pp.193-239
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• 2013

A photograph, which was applied to contemporary art, plays a very important role in the whole of the multiplied and diversified contemporary arts today. The application of photos, which were shown in contemporary art following the 1950s, can be classified into five types according to role and function of a photo in the process of developing a work. However, this classification is shown a little ambiguously. That is because photos of being utilized by artists are indicated very diversely depending on their artistic strategy and situation. As the first type, a few painters utilize a photo as mirror of reality in order to materialize a challenging and revolutionary idea with going against traditional picture in their pictorial practice. As the second classification, especially American painters utilize a photo as material component of forming their picture like photo-montage or collage. The combined application of this medium is first doing genre de-construction and hybridization of post-modernism in the 1980s while ultimately aiming at social criticism or political satire. The third type implies particularly a case that avant-garde artists utilize a photo as evidence of a work. In this case, a photo is employed as evidence of a work, which disappears in the temporal space essentially like body art, land art, and performance. Also, as the fourth type is a case of utilizing a photo for artistic concept of a work, not pictorial practice of picture, it is utilized often as important artistic strategy of conceptual artists. The final type of utilizing photo is a case of applying photo as formative tool on behalf of dye-stuffs or crayon in order to record a section of reality, which always continues regardless of event or meaning any more, in the traditional picture. In this case, a work is indicated as a photo of having a form of picture, namely, as Forme-tableau. The main subject is indicated there as a daily case of being repeated always the extremely common and revived theme.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.82-91
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• 2008

After modernism, artistic movements such as Cubism, Futurism, De stijl and Bauhaus demonstrated a connection to architecture and other plastic arts and developed a tendency towards a synthetic art. Above all, the unification of painting and architecture is the most noticeable point; a blueprint and a multi-coloring space that are applied on 3-dimensions painting brought new dimensions into relief. Following this artistic trend, it is easy to point out that Le Corbusier's works; which were created under the name of Charles Edouard Jeanneret, show the pictorial peculiarity in the Space Design. Even if white space that he has designed under the slogan such as standardization and mechanization, the variety and metamorphism that he has tried to express on his work have widely been recognized. Especially, his late architectural works were produced as the figurative arts expressing the ambiguity of painting and hence led a step towards a synthetic art. The study analyses Le Corbusier's 2-dimensional Painting as well as his 3-dimensional Space Design. Furthermore, it aims at embarking on the unification of painting and architecture in terms of Le Corbusier's synthetic design philosophy.

• (The)Study of the Eastern Classic
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• no.32
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• pp.425-441
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• 2008

Most of Korea's Kyungmaedorock(auction book: 競賣圖錄) and pictorial record of exhibitions in the modern times were usually published in the 1930s. Although 1930s were periods of the Great Depression when economic slump continued because of the aftereffect of the slump in the stocks issued by the US in 1929, during this period, Japan began regular continental invasion starting from invasion of the northeastern area of China. To curio dealers, the 1930s were 'boom period of curio transaction' and in urban cultural aspects, the period is evaluated as the one when the first step of modernism was formed. Collection, photo-printing and arrangement of the data related to modern exhibitions including the Auction Book being published at that time are very important because they enable us to know characteristics of fine arts in the transition period from paintings & writings to fine arts in addition to enabling us to revert the circulation history of our paintings & writings and curios. Furthermore, these data will become important data for reconstitution of the circulation history of the Eastern Asia's modern art works. Although the pictorial record of Joseon's Exhibitions of Chinaware and Wooden Works(朝鮮陶磁木工展) is a small and thin one, it records our country's high level chinaware and wooden works. Although we can't know the exact time for 'Joseon's exhibitions of chinaware and wooden works', they are assumed to have been held in Tokyo, Japan in the 1930s and there seems to have been sale of works, too. As such, studies of the books such as the auction book and exhibitions under Japanese imperialism have the first importance in the fact that through which we can examine the course of outflow of our art works to Japan. Furthermore, they can be studies of art-sociology that examine flow and phase of recognition and taste of art works of those days. And from now on, comparative studies of auctions and exhibitions being held in Japan such as Tokyo, Osaka and etc. as well as art markets in Seoul during modern times would also be necessary.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.6
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• pp.98-108
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• 2003

The research purpose of this study, together with the study of Frank Stella's work and his expansion of the formative arts field, is to rediscover "Amabel" and to present a fresh perspective in evaluating and assessing environmental art objects. The results of this study can be summarized as follows. 1. The study investigated the effect how Frank Stella's work affected American modem art trends. 2. The study helped to re-evaluate Stella's work by examining its expansion into the plastic arts. 3. The study analysed the plastic works of Prank Stella and his effect on plastic arts within the modem art trend of America. In conclusion, Frank Stella played a leading role in today's American art style and had a potent influence on the trends of America's modem U. In recent years, his work has had an impacted on the design of parks and art galleries. America's industrial society is led by the growth of economic power and the development of science and technology. In America's architecture and landscape architecture, such new forms as minimalism functionalism, cubism and abstract expressionism, which have been influenced by art movements, emerged in California and the east coast. Influences of Stella such as these are the remedy for a vested stubborn concept of architecture and landscape architecture by introducing a sense of pictorial space in these fields. In landscape architecture, the introduction of art trends appears in several ways. Mainly the trend of Minimalist Art, influenced by Modernism, can be seen in much Landscape Architecture. Frank Stella contributed to the development of such minimalist art.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.96-103
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• 2009

Man has an unconscious desire to free oneself from everyday selves and a strong intellectual desire to see and analyze things in a different perspective. This provided a momentum for architectural design that has long been confined to its limits of modernism of being rational and objective. The ever-changing society that we live in filled with various attempts and pluralistic characteristics shows a complex set of attributes that can hardly be defined by a single term. As society moves towards an uncertain and volatile state, the boundary between literature, philosophy and art has dimmed out and converged. Such tendencies have been observable in recent establishments in architecture in the form of introducing external elements and create an alien and farfetched architectural space. Using the 'depaysement' defamiliarization method expressing irrationality and randomness, it is applied in various aspects, sharing the counter-rational structure and features of such architectural space. Hence, it is the purpose of this study to delve into the unique characteristics of depaysement through Magritte's work which reflects the unique pictorial world built under the influence of surrealism, and discover the $D\acute{e}paysement$ tendencies in modern architectural space. It is apparent in Modern architecture that, owing to the development in digital technology, it is showing process changes in design and an interfacial $D\acute{e}paysement$ effect in cyberspace, an interlace of reality and the virtual world. In this study, the focus of analysis was architectural properties such as the program, figure/spatial, material and the objective side, but due to mutual text properties, it is bound to be an overlapping analysis.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.