• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• Proceedings of the Korea Contents Association Conference
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• 2003.05a
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• pp.117-126
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• 2003

A semiotic approach to modern visual arts has emerged since French post-structuralism was introduced to Anglo -American academics by "deconstruction" or "postmodernism." It views a work of art as a sign, which is its methodical assumption ana at the same time makes its application more accessible In the milieu of modern visual arts'effort to be intimate to with general audience, modern art photography is now faced with the request to be a familar and universal domain instead of being left only in photo books as artistic and academic achievements More specifically, various photo images 1mm such visual media as newspapers TVs, and computer graphics to such megaexhibitions as "Gwangju Biennale," "Media City Seoul," and "Pusan International Art Festival," are main objects of s030y. A coherent and scientific analysis of visual semitotics is still on the way; however, it is an urgent task how to read and interpret a photo image with multiple meanings This study argues that visual semiotics can be a powerful tool to enhance the understanding of art photography. After all, semiotics is a product of age; we live in the age of legibility, that is, of reading the work of art well as the social events and phenomena.rk of art well as the social events and phenomena.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.3
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• pp.51-60
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• 2012

Gwangju Metropolitan City has implemented a creative regeneration project of Gwangju Folly in the site of Gwangju-eup Fortress as part of the Gwangju Design Biennale by inviting well-known international architects. This study examined and analyzed the characteristics of location, place, and space through actual survey. The results were as follows. Gwangju Folly were mainly located at the four gates and corners of Gwangju-eup Fortress, main entrances of Asia Culture Complex, and historical places where the May 18 Democratization Movement occurred. The common place of Gwangju Folly was a footpath and common location types were the full location of footpath width and the partial location of footpath width. For the spatial types of Gwangju Folly, the practical type which people can stay was the most common(2/3). In the partial location of footpath width, the type which people take a rest and look out over the surroundings accounted for a half. In the full location of footpath width, the gate type which people pass accounted for 2/5. However, as footpath width was minimum for walking, both partial and full occupation types were narrow in place. It influenced the image of Gwangju Folly. Gwangju Folly did not play as a figure and show architects' intentions clearly because of their narrow locations. Therefore, it is very necessary to make a plan to maintain places so that Gwangju Folly do not have a cramped image and architects' intentions become clear with citizens' cultural competence. Also, urban property which creates the identity and attraction of Gwangju continuously should be settled down through helping citizens recognize the intention and value of artistic works.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.12 no.1
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• pp.283-294
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• 2012

Recently increasing usage of smart phones so, the application field of convergence industry between IT technology using smart phone-based mobile communication networks and other industry branches is expanding. In addition, R&D technologies in other fields are applied to smart phone applications effectively in order to develop products and support daily life more convenient. However, it is very hard to control these products and there is no efficient solution for this problem when many people are sent to specific area for big events, such as Biennale, Film Festival, EXPO, and so on. In order to solve this problem, this paper describes a network-based ticket reservation system and its organization using augmented reality on smart phone and mobile communication networks. In particular, we propose a method of designing and developing prototyping system based on smart phone application design technologies, prior to developing real smart phone application.

• The Journal of the Korea Contents Association
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• v.3 no.2
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• pp.1-10
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• 2003

A semiotic approach to modem visual arts has emerged since French post-structuralism was introduced to Anglo -American academics by "deconstruction" or "postmodemi sm." It views a work of art as a sign, which is its math odical assumption and, at the same time, makes its appli cation more accessible. In the milieu of modem visual arts' effort to be intimate with general audience, modem art photography is now fared with the request to be a familar and universal domain, instead of being left only in photo books as artistic and academic achievements. More specifically, various photo images puter graphics to such megaexhibitions as "Gwangju Biennale,. "Media City Seo ul," and "Pusan International Art Festival," are main objects of study. A coherent and scientific analysis of visual semitotics is still on the way, however, it is an urgent task how to read and interpret a photo image with multiple meanings. This study argues that visual seniotics can be a powerful tool to enhance the understanding of art photography. After all, seniotics is a product of age； we live in the age of legibility, that is, of reading the work of art well as the social events and phenomena. art well as the social events and phenomena.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.131-137
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• 2019

The purpose of this study is to draw the factors that makes the visitors decide to visit the art-museum and verifying the influence of visit determinants on recommendation intention and revisit intention. Visitors to Gwangju Museum of Art and Gwangju Biennale in Gwang-ju city were chosen for this study. Data were collected for 30 days from September 15 to October 14, 2018. A total of 350 visitors were attended in this research and finally 315 samples were used for the empirical analysis. The result of this study showed that 4 determinant factors(Escape from the ordinary, self-development, novelty, culture experience) of visiting art-museum were identified which all influences on behavioral intention(recommendation intention, revisit intention). Particularly, 'novelity' is the major factor influences on recommendation intention followed by 'escape from the ordinary' factor. Moreover, 'escape from the ordinary' factor influences the most on revisit intention among all determinants of visiting art-museum.

• Journal of Communication Design
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• v.60
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• pp.402-412
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• 2017

Since the 1990s, the role of the government has been shifting towards governance. This new governance emphasizes government's role in establishing a cooperative system with private organizations through network structure and interaction. In the 1990s, Korean Government support for artists and exhibitions increased unprecedentedly. In the 2000s, support for the arts shifted in ways so as to integrate genres. Simultaneously, in order to strengthen the creative capacities of artists, support for new artists, multi-art and fusion arts have increased. From 2010, 'visual arts' business support was provided. In addition, 'visual arts' was supported by a joint planning project from 2013 Also, an overseas residence program has actively supported exhibitions through international exchanges. Since 2005, it has expanded to cooperation with India, Iran and Asian countries as well as with the Betani Studio in Germany. In addition local government supported for artists and the Biennale, residences, regional cooperative business through the local cultural foundation.

• International Journal of Computer Science & Network Security
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• v.21 no.4
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• pp.229-240
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• 2021

The article seeks to explore Ukrainian media art and its features in a global context. In particular, it performs an in-depth analysis of the stages of its development from video art of the 1990s, media installations of the 2000s, and to various digital and VR technologies today. Due to historical circumstances, the development of media art was quite rapid, as young artists sought to gain new experience in media art. Most often, their experience was broadened through international cooperation and studying abroad. The paper analyzes the presentation of Ukrainian media art outside the country during 1993-2020 and distinguishes the main thematic areas of the artists' work. It examines how artists present and reveal the peculiarities of the Ukrainian worldview, aesthetics, and culture through the problematization of certain aspects and themes in their work. Specifically, among the principal topics which are problematized in the work of media artists are a sensory experience, limited sensory capabilities, gender issues, the Chernobyl tragedy, the development of utopian models of the city, and global communication. The leading themes of Ukrainian artists also include revolution and war. Notably, political and social sentiments determine the unique energy and vitality of contemporary Ukrainian art, create a revolutionary creative environment, and unite media artists in group art projects. It is concluded that by showing, exhibiting, and presenting them outside the country, artists shape the image of Ukrainian art in a global context.

• Cartoon and Animation Studies
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• s.37
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• pp.413-437
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• 2014

As the public Japanese art, print can be said to have started from Ukiyo-e print of Edo period(江戶時代, 1603~1867). Ukiyo-e(浮世繪) print, which 3 persons jointly produce, henceforth has gradually declined since the meiji period(明治時代, 1868~1912) due to the development of new print technique and introduction of western art. Since then, during the daiso period(大正時代 1912~1926), creative print movement grew up. Creative print is, differently from Ukiyo-e print, to be produced by one person, from the original picture to print, focusing on creating the artist's own work by being the main agent of the work. During before and after 1900s, print was evaluated low in Japan, compared to western painting, sculpture, etc. Nevertheless, the facts that several Japanese print artists received awards from international exhibits since 1950s became a big topic internationally, which became an opportunity to hold Tokyo International Print Biennale in 1957 in Japan, the first international art festival. From then on, print was recognized as an art genre while new recognition on it was gradually accepted also in Japan. In 1970, a controversy on it arose, while the characteristic of print as a medium of modern art became strong, accordingly, a controversy on it arose. However, in 1980, it firmly established itself as an art genre by overcoming the crisis through various efforts in the dimension of print artists and university education. Since then, print artists who produce new works with completeness by applying traditional technique and modern expression mode emerged, and until now Japanese modern print art is highly recognized by the world through the continuous overseas activities, research on print art, and cultivation of young print artists. This research looked back on the historical process when Japanese modern print art was created, which represents Asia, and investigated the cause that it could have win an international fame.

• Journal of the Economic Geographical Society of Korea
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• v.14 no.3
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• pp.263-285
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• 2011

Despite the process of neoliberalization has made a decisive influence on our society as a whole, there seems little interests in neoliberal urbanization and entrepreneurial urban projects promoting it. This study is to see relationships between neolibealization process and recent urbanization and urban policies in terms of entrepreneurial city mediating them. In particular, this paper tries to reconceptualize entrepreneurial city as corresponding to privatization and commodification, financialization, state redistribution, and management and manipulation of crises which Harvey(2005) suggests as four main features of neoliberalization process in general and 'accumulation by dispossession' in particular, and to characterize it in terms of 'creative destruction' and of 'entrepreneurial governance'. As examined in the later part of this paper, recent cases of these entrepreneurial urban projects in S. Korea include volatility of land and housing price in the Capital region and urban regeneration and newtown projects, project for free economic zones construction in Incheon and other 5 regions, project for SOC construction heavily relying on private investment, in particular project financing pursued nationwidely including Daegu, and project of urban cultural marketing to promote capital inflow tacitly as well as to enhance urban imagine explicitly.