• The Journal of Art Theory & Practice
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• no.4
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.155-170
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• 2008

Club culture is the global trend for youth in 21st century. Club is the space that is created with close relationship among music, dance and fashion. It is also experimental cultural art space with endlessly transforming style. Furthermore it is a space for independent minor culture which represents speciality than generality of cultural appetite and style of club. Cultural communities formed around club and their parties have placed as a strong subculture trend based on youth age group. What they are creating as a subculture could be our tomorrow's main trend and clubbers also could be our major power sources for future. Therefore it is necessary to pay attention to club culture. The purposes of this research are to identify the concept of clubber, to analyzes their basic club culture characteristics and elements, and to find out unique fashion styles of Korean clubber in comparison with the origin. To study club fashion style's origin and background, this study searched a theoretical flow from 1930's to 1990's. Then, Korean clubber's style is derived by comparing background and origin of Korean club culture with those of abroad. To analyze in various point of view, theoretical backgrounds about social, cultural, dresses, and design were considered. Since research target is a visual image, street fashion is analyzed on through, music channels and magazines from 1930's to present as well as designer's art photographies. Internet sites', cub culture association's and sound association's photos were also extracted. as a visual evidences to offer actual evidences. Geological targets are selected among Korean club culture's origin such as Hong-Ik University area, Shin-chon, Chungdam-dong and Apgujung-dong areas. The results of this study are as follows. Firstly, clubber's fashion style influenced magnificently on major fashion design instead of being just youngster's resistance toward control group and it is contributing to our fashion culture to enrich it. Secondly, fashion styles of korean clubbers are based on those of western sub-culture, but with a unique localized history.

• Acta Via Serica
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• v.6 no.2
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• pp.61-90
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• 2021

Recent excavations in Qinghai Province, China, have disclosed textiles and artworks from Tuyuhun-Tubo (Tibetan) tombs, dated to the 7^th-9^th centuries, that suggest artistic and cultural exchanges along an external southern branch of the main Silk Road, between Gansu and Sichuan Provinces, across the Qinghai-Tibetan plateau toward the Himalayas. Many similar textiles, possibly from this area, have appeared lately on the art market and ended in private collections. Although these textiles, dated to the early Tibetan period, follow a popular prototype established in Central Asia in the 6^th century, the technical features, colors, and other indigenous elements suggest that they were woven in workshops different from those established between Sogdiana and Gansu. The exhibition "Cultural Exchange Along the Silk Road - Masterpieces of the Tubo Period," organized by the Dunhuang Research Academy and the Pritzker Collaborative Art between July and October 2019 in Dunhuang, Gansu, was a groundbreaking event that gathered scholarly attention on early Tibetan material culture, but a relevant publication is still forthcoming. In my previous work, I briefly discussed a group of silk textiles, possibly from Qinghai or Sichuan, that I analyzed in 2014 in the China National Silk Museum in Hangzhou, Zhejiang. In light of the recent material excavated, published online, or displayed in Dunhuang, in this article, I reevaluate the data previously collected, and discuss in detail the technical and iconographic features of one of the fragments held in Hangzhou. Eventually, the piece was recognized as the ending part of a large panel, which is now in the Abegg Stiftung in Riggisberg, Switzerland.

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

• The Journal of Art Theory & Practice
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• no.5
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• pp.109-133
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• 2007

What a concept of theatricality in modern art became more controversial is through a review "art and object-hood" on Michael Fried's minimal art, as having been already known broadly. As he had been concerned, the art following the minimalism is accepting as the very important elements such as the introduction of temporality, the stage in the exhibition space, and the audience's positive participation, enough to be no exaggeration to say that it was involved in almost all the theatricality. Particularly even in the installation art and the environment art, which have substantially positioned since the 1970s, the space is staged, and the audience's participation is greatly highlighted due to the temporal character and the site-specific in works. In such way, the theatricality in art work is today regarded as one of the most important elements. In this context, it is thought to have significance to examine theatricality, which is shown in the works of Arte Povera artists, who had been active energetically between 1967-1971. That is because the name of this group itself is what was borrowed from "Poor Theatre" in Jerzy Grotowski, who is a play director and theorist coming from Poland, and because of having many common points in the aspect of content and form. It reveals that the art called Arte Povera is sharing many critical minds in the face of commanding the field called a play and other media. Grotowski's theatre theory is very close to the theory and substance in Arte Povera in a sense that liberates a play, which was locked in literature, above all, renews the relationship between stage and seat and between actor and audience, and pursues a human being's change in consciousness through this. That is because Arte Povera also emphasizes the communication with the audience through appealing to a human being's perception and through the direct and living method, not the objective art concept of centering on the work. In addition, the poor play or poor art all has tendency that denies a system, which relies upon economic and cultural system, and seeks for what is anti-cultural, elemental, and fundamental. It is very similar even in a sense that focuses on the exploration process itself rather than the result, excludes the transcendental concept, and attaches importance to empiricism. However, Arte Povera accepts contradictoriness and complexity, and suggests eclecticism and tolerance, thereby being basically the nomadic art and the art difficult to be captured constitutively. On the other hand, there is difference in a sense that the poor play is characterized by purity, asceticism, seriousness, and solemnity. If so, which significance does this theatricality, which was introduced to art, ultimately have? As all the arts desire to be revealed with invisible things beyond the visual thing, theatricality comes to play a very important role at this time. If all the artists and audiences today came to acquire actual or virtual freedom much more, that can be said to be a point attributable to that art relied upon diverse conditions in a play.

• Review of Culture and Economy
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• v.21 no.3
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• pp.3-30
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• 2018

The purpose of this study is to investigate the effects of participation in cultural activities on happiness. The empirical results show that participation in cultural activities has a positive impact on individual happiness, because cultural activities cause entertainment and social contacts with people. Furthermore, the levels of income and education are analyzed by dividing them into high and low groups. Noteworthy is that the low-income and less-educated groups show lower participation in cultural activities than those in the high-income and well-educated groups, But the utility magnitude gained through cultural activities is higher. This implies that opportunity costs arising from financial and time constraints are greater in the low-income and less-educated groups than in the high-income and well-educated groups. Finally, for the low-income group, the marginal utility is reduced when spending on cultural activities exceeds certain levels, which means there exist a budget constraint for the low-income group.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• Journal of Industrial Convergence
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• v.20 no.11
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• pp.177-184
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• 2022

This study verified the moderating effect of the influence of the reference group on the effect of socio-cultural attitude toward appearance and appearance complex on semi-permanent makeup satisfaction. To this end, a survey was conducted on 210 people who had undergone semi-permanent makeup and the results were obtained. The results were analyzed through the SPSS program, and the results are as follows. The recognition of the social importance of appearance among social-cultural attitudes toward appearance had a significant effect on satisfaction with the procedure. The self-conscious appearance complex had a significant effect on the satisfaction with the procedure. It was found that the influence of the reference group had a moderating effect on the effect of internalization, which is a social-cultural attitude toward appearance, on the satisfaction with the procedure. showed Both the appearance complex caused by others, the appearance complex, and the self-conscious appearance complex showed a moderating effect of the reference group effect in the effect on the satisfaction of semi-permanent procedures. Lastly, it was found that the higher the satisfaction with the semi-permanent procedure, the higher the number of additional treatment in the future.

• 지역과문화
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• v.7 no.2
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• pp.1-29
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• 2020

The purpose of this study is to have an opportunity to enhance the role of cultural intermediaries in the region as interest in the cultural media sector increased with the implementation of the Law for Promotion of Regional Culture. First, I discussed the need to pay attention to the local Cultural Intermediaries group as the background of the discussion, confirming that the existing research on the cultural mediation sector was focused on cultural workers in public institutions and government projects. Next, for the theoretical discussion, I reviewed the role of cultural intermediaries contributing to the production of meaning via the concept of cultural intermediaries by Pierre Bourdieu, and described that the mediation of regions and cultures began to emerge as an alternative to the existing centralized structure of cultural production in the context of Korea after the late 1990s. It was found that practices that mediate the region and culture were developed around the group of public artists and cultural activists and the intermediary group played a role in revealing various aspects of the region and dynamically constructing the local public sphere through these cultural practices. Lastly, local curator's cases (Space Beam, Space Imsi, Incheon Spectacle) were studied. The actual cases of activity were analyzed through the cultural practices by focusing on what alternative meanings had been produced in the region and how the region was represented. Each case showed the mediating activity that attempts to change the environment of life while sharing local issues with communities, projects that reconstructs the local professional art sector into a public sphere, and mediating activity that represents local daily culture and form networks through independent publications.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.79-85
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• 2019

'Experiments in Art and Technology' Group was established in the mid-20th century, and then developed the larger interdisciplinary experiments into the range of art world and its outside field. The motive power of group's activities was the collaboration between artists and engineers traversing the boundary between old different disciplinary conventions. E.A.T was officially launched in 1967 by the engineers Billy $Kl{\ddot{u}}ver$ and Fred Waldhauer and the artists Robert Raushenberg and Robert Whitman. They performed various possibility of material, technology, and engineering available to contemporary art. By reflecting the function of art and technology in society, eventually they developed the methodology of new aesthetics which had organic relationship with contemporary world. In this sense, this research have its academic significance. This paper firstly examined the socio-cultural context of emerging the E.A.T. group as a representative model for convergent practice, and verified the fact that the collaboration between artists and engineers had produced the expansion of artistic expression as well as new relationship among art, engineering, and society by considering E.A.T's various projects. Therefore, I will refer the E.A.T. group as an exemplary model for concrete method of collaboration that contemporary discourses about convergence need.