• Journal of Science of Art and Design
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• v.12
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• pp.65-96
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• 2007

Today, the modern art is extremely diverse. It is denying its own boundary through chaos, extreme, abjection. In fact the diversity of the modern art can be best described as questioning and challenging to the essence of the reality, rather than the artistic pursuit of the beauties. The pursuit of the reality has been a long lasting discourse since the ancient. Through the history, the reality (referent) and representation (image) has been complementing and disposing each other in a relationship of a meaningful construction until the modern times. The limit of modernistic self-reference and the emergence of the figure leads to the emergence of Post-modernism in a trend of experimenting new visual arts. The return to the figure is clearly distinguished from existing representation's system and it brought new meanings to approaches and interpretations of the reality. In the case of Pop arts of 1960's and the following the modern sculptures, which is covered by this thesis, I put an emphasis on the diversification of those via changed strategies on the reality. In a situation where the reality is dictated by signified, the modern arts can no longer stay on a classic concept of representation, rather it pursuits new system and diverse strategies. I provide three types of strategic characters of the reality and the diversification of reality: the transition of the reality. These three types can be used as a frame work, which is supporting new aspects of the modern arts in reflecting on existing system. Therefore, the reason of categorizing is to distinguish modernistic arts and post modernistic arts, and to propose new post-modernistic discourses. Adapting J.F, Lyotard's view, absence is used to trace down the diversification of the reality thorough the sublime on the deconstruction of the mega discourses and the relationship of representation. Based on H. Faster's theory of the appropriation, the appropriation is used to exemplify the strategies of visual arts are in variations and being delayed. Lastly, in the transition, J. Baudrilliard's simulacre is used in terms of the concept of post modernistic representation. Based on the core of his theories, the deconstruction of existing concepts and simulation as the post modernistic representation, and the world of hyperreality based on simulacre are explained. These allows us to deny that representation is the expression of reality through mimesis. My aim is to work on the definition of the arts and representation in the modern era, and go further from there in order to clarify meaning and extension of the modern sculptures. Now two artists are reviewed based on their own art works: George Seagal; Jeff Koons. They are selected among numerous artists from the Post Modern era. Epic contents and emphasis on daily life of Seagal's works show good examples to artists from Pop Arts and following time period and may have served as a start point for Postmodernism. Indeed, he tried to show a newly defined relationship between art works and daily life experience. On the other hand, J.Koons used the strategies of fabrication and appropriation, which shows characteristics of the postmodernism. Through his four individual exhibitions, he shows the diversification of the reality based on art works as fetishistic merchandises, and newly defined concept of Ready-made since M Duchamp. Lastly, the diversification of the reality is analyzed again in context of my art works. I focused on the return to the figure among a variety of trends of late 20 th century modern sculpture. It showed the post modernistic point of view on the reality. Post modernistic diversified strategies are adopted as a method of distinguishing each art works via the diversification of the reality. This is the result of contemporary social and cultural situations.

• Cartoon and Animation Studies
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• s.45
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• pp.321-343
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• 2016

The purpose of this thesis is to look through the political and social background of China preparing for a new era after getting out of the Communist Party of Mao Zedong, rapid inflow of the Western modernism and the avant-garde art arising in China with the focus of art works of Xu Bing, which contributed to the expansion of printmaking of China. Particularly, 85 New Wave Movement arose by young artists since 1985 and the China/Avant-Garde Exhibition held in Beijing in 1989 are the two important issues which reflect a new change from the traditional Chinese art. The artists of 85 New Wave Movement, who pursued a historical revolution and novelty, worked very actively by leading private exhibitions. Since the Cultural Revolution, the government owned the National Museum of Fine Art Beijing had exhibitions on a large scale displaying various visual arts such as performing art, installation, painting, sculpture but the Chinese government interrupted exhibitions two time due to bold performing art and unconcealed installation. Some artists were even taken to the police when performing art. Under these circumstances, Xu Bing, who majored printmaking, produced one of his major works, Books from the sky(1988), while he was working on various experiments focusing on the production process of printmaking and its repetitiveness. Xu Bing devised letters, carved them in trees and finally created approximately 2000 characters. Going further he displayed it as installation work, which means the developed characters go beyond a printed form, for audiences. This made him earn favorable reviews since it was a form of western art coupled with Chinese contents 'Chinese character'. After he received unfavorable reviews, however, he went to America leaving his last work in China, Ghost Pounding the Wall, in 1990, which was not able to exhibited. In those days, China society was going through a chaotic era thanks to the extinction of the Cultural Revolution and Deng Xiaoping's(1904-1997) reformation after the debacle of Tiananmen Massacre. This study looks into Xu Bing's artworks from his initial print works until he went to the US in 1991 and examines how he performed experiments utilizing reproductivity and plurality of prints tinged with Chinese traditional elements, and ultimately became one of the avant-garde artists representing the period.

• Korean journal of communication and information
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• v.17
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• pp.145-178
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• 2001

Bourdieu is one of the few social science researchers who were interested in photography. Bourdieu's work on photography appears principally in two books: Un art moyen: Essai sur les usagrs sociaux de la photographie(1965) and La distinction(1979). In these books, Bourdieu analyzes the role of photography in the family life of peasants and small town and urban dwellers. He shows how different classes and groups express their esthetic worldview in response to different photographs and photographic styles. What Bourdieu analyzed is not just photography but ways of photographing and ways of looking at pictures. Through these analyses, Bourdieu explores the social definition of photography. Bourdieu's ideas on photographic practice in social life are as follows. First, the photography, especially family photography generally practiced, has the integrative function. It recreates the group by ritualizing and solemnizing the important moments of social life in which the group reaffirms its unity. Second, the photography as esthetic practice in search of legitimacy as a fine art becomes a means by which different classes are pitted against each other. Each of classes gives its own meaning to photographic practice. Despite its originality and persuasive power, Bourdieu's work on photography has its own limits. The data used by Bourdieu are 35 years old and relevant to European social life. Things has changed since. First, the technological improvement and innovation in photography was considerable. Cheap and good photographic materials, easy to operate, made photographic practice everybody's everyday activity. New media like camcorder and digital camera made photography one of the industrial discards like jukebox. It means that photography does not function as important means of distinction between classes any longer. The integrative function of the photography becomes more ambiguous too. Second, the esthetic status of the photography has changed. The family photography was already integraed into fine art. Photography is not a middle-brow art any more. Bourdieu's work on photography shows how photography was used by different social classes in European social life of the 1960's. His work is historically and geographically limited. Moreover, his work was ordered by the french affiliate of Eastman Kodak Company. And all along the analysis, Bourdieu didn't hide his intention of distinguishing his sociological method from the other methods, especially psychological one. These mean that Bourdieu's work was done in a specific context, for specific purposes. In this respect, Bourdieu's work on photography, like every sociological work, can not claim to be universal.

• (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.

• Archives of design research
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• v.19 no.3 s.65
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• pp.45-58
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• 2006

Design policy in Korea has been dealt as one of the industrial policies in economic policies, and it can be classified as government driven. A problem derived from this is that previous design policies have only pursued creating material values, and have overlooked the emotional values of design, such as creating cultural identity of Korea and cultural independence through it. Therefore, a new mindset of 'Cultural Era of Design' and a new role of 'Designers as Producers of Culture' must be in the strategy and system for supporting the design in Korea. This study can be divided into three major parts. First part compares and examines current design policies of Korea to seek more suitable design policies. Second part suggests a new direction for design policy by analyzing the ideas and cases of such policies. Third part surveys designers and people in related fields to collect opinions about design policies in Korea to propose directions for new design policies and ways to evaluate them. The object of this process is to find out how they, in the center of design and cultural industries, see and follow the policies. It will aid the narrowing of perceptual gap between them and the developers of policies.

• International Journal of Contents
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• v.3 no.1
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• pp.29-33
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• 2007

Anime is very popular in Japan, it has also gained a following in America and is beginning to hit the mainstream. Anime is gaining popularity in the United States as it is shown more on television, most noticeably on the Sci-Fi Channel with shows such as Saturday Anime and during Anime Week and on Cartoon Network with shows such as Sailor Moon and Dragon Ball Z being shown every weekday during the Toonami block. In this paper, I present the key factors behind the success of anime in USA. To find out the factors, I research literature and simple survey. The differences of anime from us animation make anime popular. Anime-related goods such as video games, trading cards, and characters' jewelry aid the anime growing popularity. A booming trend in admiration for Japan is one of the key factors behind anime's success. In spite of disputing about Japanese animation, anime is starting to have some influence on US animation and also young American. Anime's success factors in USA could suggest that Korean Manhwa and Korean animation have to prepare strategies for rising popularity in oversea.

• 한국연소학회:학술대회논문집
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• 2012.11a
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• pp.89-91
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• 2012

The numerical simulation for detonation failure of ammonium nitrate (AN) based non-ideal explosives is carried out with an accurate and state-of-the-art Eulerian method. Detonation failure is readily observed in the rate stick experiments utilizing the AN mixture explosives and the inert confinements of varying thicknesses. The composition of non-ideal explosives and thickness of the confinements influence the characteristics of detonation failure. Calculated results are compared against the experimental data of both unconfined and confined rate stick problems and provide a reliable guideline to establish a fine-tuned chemical kinetic model for detonation failure.

• International Journal of Contents
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• v.7 no.3
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• pp.38-47
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• 2011

The present research has created and evaluated contents capable of work appreciation visitors changing their viewpoints on their will by introducing mobile exhibition exposition devices (iPad) for large exhibition museum. Various exposition contents of usually invisible parts or those provided in accordance with user positions drew visitors' attentions and improved museum experience satisfaction. Utilization of digitalized exhibition information generated activeness in viewing and new communication between exhibition and a visitor instead of the conventional exhibition exposition.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.37-37
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• 2003

This study attempts to research and analyze the khaki color, which is regarded to be the most difficult to be conveyed in general. In so doing, this study aims to contribute to better understanding of the khaki color. First of all, I research definitions of the khaki, which originates from the color of "dirt", and set a boundary of this color. Second, I examine the pigments from plants that produce the color of khaki. In addition, based on the survey results and the color scheme dictionary, I analyze the characteristics of the khaki, from the cognitive perspective, and its attributes as a neutral color.

• Journal of the Korea Furniture Society
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• v.23 no.3
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• pp.271-289
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• 2012

This study analyzes the Western rocking chair style of the middle of the 20th century (1945~1970), and investigates academically characteristics from formative and practical points of view. The purpose of this study is to provide basic information on the design and production of the modern Korean rocking chair. In the 20th century, the production of the Western rocking chair displayed principles of both functionalism and optimism. These rocking chairs are constructed of various industrial materials including reinforced plastics, moulded plywood, aluminium, and steel as well as wood. Furthermore, a rocking chair suitable to the human body is made by industrial growth and innovative fabrication techniques such as designer's plastic from military in the First and Second World Wars. In those days, there are many different types of rocker style - traditional, plastics, structural, moulded plywood & bending, metal tubular, and wire mesh. More specifically, through economic prosperity and plastic development, the rocking chair is able to have light and bright colors, which shows sensible formality of the modern and structure.