• International Journal of Computer Science & Network Security
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• v.22 no.5
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• pp.39-48
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• 2022

The main purpose of the work is to analyze modern innovative educational practices in the field of culture and art and their effectiveness in the context of the spread of digitalization trends. The study used general scientific theoretical methods of analysis, synthesis, analogy, comparative, induction, deduction, reductionism, and a number of others, allowing you to fully understand the pattern of modern modernization processes in a long historical development and demonstrate how the rejection of the negativity of progress allows talented artists to realize their own potential. The study established the advantages and disadvantages of involving innovative technologies in the educational process on the example of European experience and outlined possible ways of implementing digitalization processes in Ukrainian institutions of higher education, formulated the main difficulties encountered by teachers and students in the use of technological innovation in the pandemic. The rapid development of digital technologies has had a great impact on the sphere of culture and art, both visual, scenic, and musical in all processes: creation, reproduction, perception, learning, etc. In the field of art education, there is a synthesis of creative practices with digital technologies. In terms of music education, these processes at the present stage are provided with digital tools of specially developed software (music programs for composition and typing of musical text, recording, and correction of sound, for quality listening to the whole work or its fragments) for training programs used in institutional education and non-institutional learning as a means of independent mastering of the theory and practice of music-making, as well as other programs and technical tools without which contemporary art cannot be imagined. In modern stage education, the involvement of video technologies, means of remote communication, allowing realtime adjustment of the educational process, is actualized. In the sphere of fine arts, there is a transformation of communicative forms of interaction between the teacher and students, which in the conditions of the pandemic are of two-way communication with the help of information and communication technologies. At this stage, there is an intensification of transformation processes in the educational industry in the areas of culture and art.

• Journal of Fashion Business
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• v.3 no.1
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• pp.159-175
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• 1999

In literature, a description of costume represents an individual's characteristics when the object is an individual. If the literary object is a certain group in a certain region, it would play an important role in representing the culture of time. It clearly shows that aesthetic consciousness of Hyo-Suk Lee who had accepted the western dandyism was well expressed in his literary works. Hyo-Suk has been unique in describing life-styles such as beauty of costume, art-for-art's sake, and leisure activities, and color imagery in his works. The color and the style of the costume show us the mental state of the wearer. They also affect the emotional states of other people. Hyo-Suk's "Pollen(화분)" and "Byukongmuhan(벽공무한)" confirm the fact that the mentality of the people can be hinted through the description of costume. They also ascertain that the color imagery retained by a special color can be altered by different circumstances and settings. Hyo-Suk applies in his works the effect of vivid color contrast, which newly appeared in Fauvism, to the description of costume. In consequence, he reflects the color aesthetics of Modern Art in which the fine art has an effect on the applied art.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.4
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• pp.53-66
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• 2001

Modern art has had a great impact on the concepts and the formal attributes of modern landscape design. This study aimed at examining the origins of modern landscape design languages especially in relation to the influence of find art during the modernist age. The formal reductionism of Cubistic paintings finally lead to the formulation of Geometrical Abstractionism which became the basic formal model for ˝Regular Style˝; one of the representative modern landscape style. This Regular Style is mostly based on the formal structure of ´Grids´, which was developed by many landscape designer like Eckbo, Kley and Halprin. On the other hand, the ´Bio-morphic Form´ originally used in Surrealistic Art became the formal model for ˝Organic Style˝; the other representative modern landscape style, developed mostly by the landscape designers like Church, Burle-Mark and Bye. Thus, ´Grids´ and ´Bio-morphic Form´ became the dual icons of modern art and modern landscape design. Although these modern landscape design styles were ground breaking departure from the conventional formal/informal tradition and expanded possibilities in formal experimentations, They also produced several crucial limitations originated from the scientific reductionism and autonomous aesthetics of modern art, like the physical and cultural discontinuation from surrounding environments and the formal alienation from the real life world, which gave rise to the emergence of post-modern thinking of landscape design.

• Journal of Fashion Business
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• v.9 no.6
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• pp.86-100
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• 2005

This paper has examined how ugliness has aesthetically been portrayed in modern make-up. In the past, ugliness was regarded as an antonym of beauty, but it recently plays a role on part of beauty, as independent portion of art. It was Schegel who initially maintained the view. According to his theory, ugliness represents interesting things including suffering reality, shock, attention, humor, surprises brought by distort and deformation. Hegel had a different view on it. As for him, he had the notion that ugliness was the opposite to beauty and that it had to be dependent in art, he argued that art was subordinate to philosophy, and that it was just nostalgia for the past, not representing reality, therefore, it could not be a foothold in contemporary art. In this context, some images of ugliness can be classified accordingly to Schegel's view deteste, decadence and androgynous can be fallen into a category describing reality; fetish, kitsch and grotesque can be included in interesting things. There is no fine line between the two. There are sometimes things they have in common. They mutually draw attentions by distancing themselves from general images of beauty, or making many changes and distorts in its part, using unique materials, unprecedented attempts of colors which result in creative and shocking images. Attempts made in ugly images in modern art are widening its concept to depicting reality on the body of human beings, also creating its new definition, playing a major role in independent part of modern art, not in the past way like wearing make-up on the face to make it look better.

• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.67-76
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• 2022

This study aimed to guide the practice of group art therapy among Korean college students through a systematic review. Therefore, 164 studies relevant to group art therapy for Korean undergraduate students published in Korea from January 2001 to June 2021 were selected. This systematic review included 46 publications based on the PICO standards. The author systematically reviewed the included studies, summarized the characteristics and therapy effectiveness, and analyzed the overall research trends. The primary findings were as follows: First, the number of publications on group art therapy among Korean college students has significantly increased. According to a review of group art therapy characteristics, the majority of studies enrolled 6-10 participants (32 studies, 66.7%), applied 6-10 sessions (23 studies, 47.9%), and had an intervention time for each session of 90 minutes (25 studies, 53.2%). Second, research outcomes of group art therapy among Korean college students were grouped into self-related, society-related, emotion-related, and career-related outcomes. Regarding career-related outcomes, all studies found that group art therapy had a statistically significant impact on career-related outcomes, particularly on the levels of career decision-making and maturity. Most studies suggested that group art therapy had a positive effect on self-related, society-related, and emotion-related outcomes, with 6 studies finding no statistically significant effect of group art therapy on college students. Third, the most effective intervention for college students was the media-based group art therapy. In particular, college students had the most effective performance in career-related outcomes. This study is significant in that it uses a systematic review to integrate and summarize research results on group art therapy among college students over the last 20 years. This study revealed that group art therapy could positively and effectively affect Korean college students. Based on this systematic review, we expect to practice and develop group art therapy in Chinese college students with comprehensive guidance and convincing data.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.205-210
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• 2023

Stone cave paintings are continuous interactions as independent mediums in places such as text, images and stone cave architecture. Unlike Buddha statues, the narrative of the text always fascinates and guides the viewer to the timeliness of the image, that is, the narrative. In particular, in Buddhist art, Buddha statues are never simple images, and murals are never simple paintings. Before the Tang Dynasty, most unknown artists were artisans, and many artists still worked on murals in temples and palaces, and independent paintings such as scrolls and sides became an important form of painting after the Tang Dynasty, changing the mechanism of painting creation. In this paper, the graphic creation process prioritizes dedication and service, but we can still feel the creativity of the painters strongly. The historical resources of how to paint these paintings, the clues to the copies, and the precursor to the foreground, encourage the painters to constantly try to resemble each other and discover problems...Therefore, in this paper, it was confirmed that reinvention and creativity are very important, and that Dunhuang Buddhist art is the basis for artists' creation and the source of vitality.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1083-1098
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• 2009

The purpose of the study is to revaluate the new artistic values of Suprematism that immensely influenced the Russian culture in the beginning of the 20th century. Also through studying the relationship between people and costume within works of Malevich, who wanted to portray humanity through his art works, this study will research on how Suprematism not just stood as Russian Avant-garde art but significantly contributed to art and costume expression. The study methods are as follows. First, consider the formative background of Suprematism style of arts. Second, study of the development of Suprematism art through both Suprematism art and Non-objective art. Third, study how Suprematism style of arts is portrayed in art costume through works of Malevich. The results of the study are as follows. The Russian Suprematism art costume strictly originated from the Russian Suprematism style of arts. Suprematism simplified any reproductive element of fine art with a creative energy, which reflects the statement of Malevich that said, "The object does not exist, it only stands as a symbol." In other words, Suprematism abolished ordinary response to basic environment, and created a much more serious reality than the innate reality of the environment. When applied to art costume, such style sought after geometrical simplicity in shape and Neo-Premitivism trait in color. This trend is also expressed in 21st century fashion in new forms of Minimalism or Futurism. In this respect, Suprematism still holds an artistic value in a novel form even after a century since the beginning of 20th century when Malevich first presented Suprematism.

• Journal of Environmental Health Sciences
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• v.37 no.4
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• pp.267-278
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• 2011

Objectives: A great number of hazardous agents can be emitted from various types of art-creation in a fine arts college, but little data on exposure assessment has been published. A variety of processes encompassing toxic or non-toxic materials, tools, and components are involved in a sculptor work at a fine art college. The aim of this study was to assess exposure levels to particulates and noise during sculpture classes in a college of fine arts. Methods: Students in sculpture classes participated in this study. Mass, number, and surface area concentrations of particulates, noise level, temperature and relative humidity were monitored by both personal and area sampling during the tasks of metal, wood, and stone sculpting. Results: The number and surface concentration of particulates was the highest in the task of wood sculpting, followed by metal and stone work. The mass concentration of particulates was the highest in stone sculpting (personal GM 3.0 mg/$m^3$, GSD 3.0), followed by wood (personal GM 1.5 mg/$m^3$, GSD 1.8) and metal work (personal GM 0.95 mg/$m^3$, GSD 1.51) in that order. Occupational exposure limits (OEL) for particulates depends on the type of particulate. For wood dust, 86% (six subjects) of the personal samples and all area samples exceeded the Korean OEL for wood dust (1 mg/$m^3$), while 20% (two subjects) among stone sculpting students were exposed above the Korean OEL (10 mg/$m^3$). In contrast, metal sculpting did not exceed the OEL (5 mg/$m^3$). For noise level, metal sculpting students (Leq 95.1 dB(A) in the morning, 85.3 dB(A) in the afternoon) were exposed the most, followed by stone sculpting (88.3 dB(A)), and wood sculpting (84.8 dB(A)) in that order. Compared with the 90 dB(A) of the Korean OEL and 85 dB(A) of the American Conference of Governmental Industrial Hygienists' threshold limit value (ACGIH-TLV) for noise, 100% of the subjects (five subjects) and area samples during metal sculpting in the morning session exceeded both OELs, but only three subjects (60%) exceeded the ACGIH-TLV in the afternoon session. For stone sculpting, 50% (one subject) and 100% (two subjects) exceeded the Korean OEL and ACGIH-TLV, respectively, but the area sample did not exceed either OEL. During wood sculpting, two subjects (40%) exceeded ACGIH TLV. Conclusions: This work evaluated the sculptors' exposure to particulate matter and noise in fine art college, and revealed a poor working environment for the participating students. Effective measures should be supplemented by the administration of colleges.

• Journal of the Korean Society of Clothing and Textiles
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• v.10 no.1
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• pp.69-84
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• 1986

The objective of this Paper was to identify the relationship between the fine arts, pop art and fashion in relation to its qualities, motifs, and techniques of graffiti and collage. The data of this study were collected from fashion magazines such as French Vogue and American Vogue from 1962 through 1970 and Elle from 1980, post cards and reports of costume exhibition in Victoria & Albert museum in London, and newspaper accounts and magazine accounts. The qualities of pop art were characterized as 1) Popular (designed for mass audience), 2) transient (short term solution), 3) expendable (easily forgotten), 4) low cost, 5) mass produced, 6) young (aimed at youth), 7) witty, 8) sexy and erotic, ana 9) big business. Pop art was rooted in urban environment. According to analysis of the data for this paper, these special aspects of that environment reflected on fashion in the 60's. Mary Quant, Zandra Rhodes, Y.S.L., Rudi Gernreich, Paco Rabanne, Pierre Cardin, Andre Courreges in the 60's and Castelbajac and Sprouse in the 80's showed Pop art dresses, mods fashion inspired by pop artists such as Hamilton, Donaldson, Allen Jones, Jasper Jones, Andy Wahol, and Keith Haring. New erotism of fashion was Produced by Y.S.L.'s see-through blouse, Courreges'a hipster pants, and Gernreich's bikinis which revealed the navel and the breast. T-shirts and dresses ornamented with Pop idols' faces, Pop graffitic motifs, and slogans, as a resistant to society, were begun to popular.

• The Journal of Industrial Distribution & Business
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• v.15 no.8
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• pp.29-35
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• 2024

Purpose: This study delves into research on the core marketing plans for Modern Art Gallery. It begins with a review of existing literature to purposely get other researchers' contributions and views on the topic. Importantly and pertinent to this research, the review would enable the researcher to identify the existing gaps and how to address them to achieve the research objectives. Data and methodology: The researcher systematically reviewed the sources that met the inclusion criteria. The objective was to get the correct insights about other scholars' contributions and perspectives. The comprehensive outline of all the methods and methodologies is to promote the replicability of this study by other scholars or researchers. Results: The following four solutions are the critical findings vis-a-vis the marketing plan of Modern Art Gallery, its application, and its benefits to it. (1) Marketing Penetration Approach, (2) Product Innovation/ Development Approach, (3)Market Betterment and Development Strategy, and (4) Diversifying Approach. Conclusions: The findings give a direction in the future of the practitioners and stakeholders in the field. It is sufficient to state that this research's findings are helpful and valuable to Modern Art Gallery and other pertinent stakeholders such as learners, cultural departments, and researchers.