• 한국의류학회지
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• 제26권6호
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• pp.911-922
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• 2002

This research aims to study comparatively on the aesthetic characteristics of the Technology Art and Technology Fashion Images in the 20th century. For this purpose, literature survey and demonstrative study were undertaken. The results were as follows ; As the concept of the art in the 20th century has been broadened by the development of technology and the creative application of it in the art, the relationship of the art and fashion has been much closer. The Technology Art and Technology Fashion Images in the 20th century have been developed by using technology itself and its artifacts directly or indirectly to express their attitude on the advancement of technology of the time. The plasticity of the Technology Art and Technology Fashion Images in the 20th century was identified as geometrical forms, high-tech materials, futuristic colors and lights and dynamic expression. The internal meanings of the Technology Art and Technology Fashion Images in the 20th century were identified as functionality, arrant-garde, utopian future orientation to improve human's life.

• 복식
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• 제59권7호
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• pp.140-153
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• 2009

In the 21st century called an age of culture and art beyond the information and technology, many companies are developing various art marketings. Cases of the art marketing especially utilizing Korean features among art marketings are being increased recently. It is creating new values as a characteristic based on the cultures value of Korea. This thesis examined cooperative product development focusing on collaborative trends between designers, artists and companies through research on product and art marketing using Korean features. Additionally, by studying features of culture promotional event including exhibition and contest sponsorship, advertisement and packaging and the meaning of futures art marketing were discussed. Though, to date, academic researches have not been thoroughgoing enough in this field, it is considered that cultural product commercializing cultural particularity can strengthen the national image with acknowledgement of the global value as the art marketing using Korean features can contribute to improve recognition and the national image. Based upon this study, the value of Korean features on which custom culture of Korea dwells will be able to give a help to the designer and artist for progressing collaboration with companies as well as the companies for introducing new cultural characteristic to marketing, in the future-proof point of view. Additionally, it will be able to help the government planning the policy for intensifying the national image as a reference.

• 문화기술의 융합
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• 제6권1호
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• pp.395-401
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• 2020

사운드아트는 태생적으로 이종적(heterogeneous)이고 탈경계적인 특성을 지닌 예술 활동을 통해 진화했다. 창의적으로 인정받는 예술가들이 마음껏 활동할 수 있는 비옥한 토양이 형성되기 어려운 비주류 예술분야임에도 오늘날 국내 사운드아트 분야의 성장과 확장은 계속 진행되고 있다. 그리고 앞으로는 미술계와 음악계 사이의 진영논쟁을 넘어 탈제도권적인 작품들과 활동들까지도 폭넓게 수용하면서 다양한 비평을 열 수 있는 시대가 올 것이다. 본 논문은 사운드아트의 역사사적 특이점과 발자취를 간단히 살펴서 향후 사운드아트를 위해 개선된 토론장을 만들어가는 데 참고자료로 도움이 되게 하고자 한다.

• 한국IT서비스학회지
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• 제20권1호
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• pp.55-65
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• 2021

For smart defense innovation, the key is to apply state-of-the-art technologies of the Fourth Industrial Revolution to national defense. In order to apply state-of-the-art technology to the defense sector, we need to apply and develop technologies to analyze and respond to uncertain future operational environments. To this end, our military is investing a lot of time and effort. To understand future operational environment analysis and to apply and develop our military, we explored the perspectives of operational environment analysis in major countries and studied specific cases of U.S. troops with systematic analysis functions. The U.S. Army has established a cooperative system to analyze future operational environment under the leadership of the Education Command and operates the organization organically. It also utilizes the collective intelligence of expert groups in various fields by utilizing the MSC, and it is time for the Korean military to take the lead in keeping with the era of transformation. To that end, the organization of the U.S. Education Command should be benchmarked and the Korean Future Operation Environment Analysis Organization should be established and operated. Through this study, we have developed an understanding of the future operational environment analysis system of the U.S. Army and presented a plan to apply the ROK MND.

• 한국콘텐츠학회논문지
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• 제12권8호
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• pp.178-186
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• 2012

본 논문에서는 디자인아트의 개념형성 과정을 연구하고, 이를 토대로 디자인아트의 의의를 도출하였다. 디자인아트는 1960년대 포스트모더니즘으로 형성된 탈영역의 기조 속에 90년대 새로운 예술 시장을 개척하기 위한 스타아티스트 및 스타디자이너 육성정책으로 작가로서의 디자이너가 탄생하며 활성화되기 시작하였다. 동시에 인터넷의 보급에 따른 정보의 대중화로 사용자의 자발적인 콘텐츠 제작 및 배포 활동이 가능해짐에 따라 디자이너가 독자적인 위치를 담보하기 위해 예술적 가치를 수용하게 됨으로써 디자인아트의 영역은 더욱 확고하게 되었다. 따라서 디자인아트는 '예술로서의 디자인'을 뜻하게 되며 디자인아티스트는 '작가주의 디자이너'라는 일반적인 의미를 획득하게 된다. 이는 2000년대에 들어 기존 아트갤러리의 디자인아트 수용 및 디자인아트 페어와 같은 새로운 디자인아트 시장의 형성으로 다양성을 확보하게 되었으며, 시장의 활성화는 디자인 생태계에서 새로운 개념의 디자인을 창출하려는 움직임으로 나름의 역할을 수행하기에 이른다. 이와 같은 내용을 토대로 현업에서 활발하게 활동 중인 디자인아티스트의 작품 분석을 토대로 디자인아트의 향후 발전 가능성을 살펴보았다.

• 복식
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• 제50권2호
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• pp.167-182
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• 2000

The purpose of this study is to examine the art nouveau fashion represented in the end of the twentieth century. The characteristics of art nouveau are naturalism, medievalism , exoticism, and decadentism. The influences of art nouveau were seen in the fashion of the late nineteenth century : S-curve silhouette and organic curve motives printed on hems. Art nouveau has reappeared in modern fashion trends such as romanticism , decadence, ecology, ethno, and fusion. To sum up, art nouveau fashion at the end of the twentieth century is classified into four shapes. First, art nouveau appears in naturalism. Influenced by the arts and crafts movements and naturalistic trend, it has reappeared at the end of the twentieth century in themes like 'art & craft'. This expression technique is to objectively nature and to represented art nouveau textiles. Second, S-curve silhouette appeared at the end of nineteenth century's fashion with the art nouveau influenced rejection of the bustle style. At the end of the twentieth century, the design , emphasizing the hip, is represented in fashion collections as a phenomenon of romanticism . Especially the art nouveau silhouette of the end of the twentieth century does not represent S-curve silhouette. But , it emphasizes the hip only. Third, Art nouveau exoticism by symbolism is influenced by Chinese and Celtic art, the Middle Ages, and the exoticism that appeared in fashion at the end of the nineteenth century : harem style, kimono style, and turbans. Exoticism at the end of the twentieth century is expressed by optical flower prints and successive floral print arrangements as seen in the themes of ethno and fusion. Fourth, one of the characteristics of art nouveau, decadence is influenced by the pre-raphaelite brotherhood. This is expressed in the images of vampires, and symbolism expressing grotesque insect motives and decadent successive curves. At the end of the twentieth century decadence is represented in fashion ; grotesque insect motives, tatto looks of organic curve motives celtic hair style, see-through fashion, grotesque make-up . Besides hair style techniques, decadent expressions applying art nouveau paintings also appeared. Finally , art nouveau fashion represented as a fashion trend at the turning point to the new millennium is one of great significance as an organic, an environment-intimate and continuance-possible design in a future.

• 디지털융복합연구
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• 제18권9호
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• pp.373-378
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• 2020

Influencer(사회적 영향력을 가진 사람)의 경제활동이 지속적으로 발전하면서 'influencer'는 다양한 삶의 영역으로 영향력을 미치기 시작했으며, 많은 경제적 수입을 창출하고 있다. 동시에 각 업종도 자신의 'influencer'를 만들고 있다. 예술 전시 업계, 'influencer'로 불리는 예술 전시는 전통 예술 전시의 방식을 바꾸고 있다. 본 논문은 'influencer'로 불리는 예술 전시를 연구 대상으로 한다. 기존의 예술 전시회와는 다른 'influencer' 예술 전시회는 관객에게 전시를 통한 경험을 얻도록 더 많은 관심을 기울이고 있다. 그것은 비록 예술 전시회의 전문성을 감소시키지만, 더 많은 비전문분야의 방문객들이 예술 전시회를 보고 경험하게 한다. 'Influencer' 예술 전시는 상업적인 마케팅이지만 대중이 예술문화에 대한 소비를 늘리면서 관람객들에게 생생한 문화체험을 줄 수 있는 '영향자' 전시가 바로 대중의 문화소비 욕구를 충족시키고 있다. 몰입형 'influencer' 예술 전시회는 예술 전시회의 주요한 전시형태로 자리 잡을 것이며 혁신, 창의성, 예술 전문성 및 상업 마케팅을 통해 'influencer' 예술 전시회는 지속적으로 발전하리라 생각한다.

• 미술이론과 현장
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• 제2호
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

• 한국의류학회지
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• 제39권6호
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• pp.789-798
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• 2015

This research analyzes trends of fashion show window displays, regarding it as a new form of installation art that has the characteristics of contemporary art. Fashion show window displays are more than a physical space for displaying and have emerged as a new space in which creative expressions of arts take place. This research presents the characteristics of contemporary fashion show window displays by analyzing the characteristics of contemporary art. First, recent show window displays have shown "decentralization": various themes, forms, and mediums that are accepted without discrimination. Recent show window displays deviate from conventional methods, constantly pursuing experimental and progressive ideas and also include categories of current art, body art, and live art. Second, show window display has "interactiveness" that enables two-way communication between audiences and art, rather than fixing audiences as receptive viewers. Third, "textuality" can be found in show window displays. Recent show windows are use "objects" to show products as well as to express the meaning and symbols of products. A new directionality and effective strategies are shown to be imperative for the future development of fashion show window displays.

• 한국콘텐츠학회논문지
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• 제10권8호
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• pp.198-208
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• 2010

본 논문에서는 국내에서 행해져 온 공공미술 프로젝트들이 어떤 개념과 형태를 가지고 현재까지 이루어졌는지 그 현황을 알아보고, 2000년 이후 국내 시민단체나 관에서 행해진 공공미술 프로젝트들을 통해 앞으로의 공공미술 프로젝트들이 가야 할 방향을 제시하고자 한다. 이를 위해 공공미술프로젝트에 대한 사회적 인식을 높이고 인간의 삶을 변화시키는 실천적 힘과 사회적, 교육적 효과, 현사회의 원활한 흐름과 소통을 가능하게 하는 공공미술을 새롭게 인식하는데 역점을 두고자 한다. 따라서 본 논문은 국내 공공미술프로젝트들을 진단하고 공공미술은 아트(Art) 자체가 아닌 커뮤니티(Community)가 되어야 한다는 방향을 제언함에 있어 의의를 갖는다.