Nature/Landscape is surrounding space in which we make living. It is considerably comprehensive tenn. but on the other hand, the site can be existence, experience, and certain circumstance with boundaries. Based on these places, through contemporary art criticism, this study is to contemplate how art since 1960s, especially, site-specific art in three-dimensional space intervene in the environment. Artists of today put more value on the process and act of art making founded on the external, and they tend to create the characteristic of site or to indicate linguistic documentation. Moreover, a large-scale tendency of contemporary sculpture and 'occupation of specific site' seems to accede spatial conception from architecture. The core that recognizes these artworks is with body, that is to say, the space in which Self becomes the subject by changing the structure of the work while moving around it. In particular, 'Site-specific Art (in situ)' sometimes determines the form inward or outward It also relates directly on viewer's five senses by looking, hearing, and feeling, touching, and interacting. For example, in Richard Serra's , the viewer who moves around the work has the role to manipulate the movement of the work by perception. Works of In situ and works that planned for specific site suggest 'occupation of site' as of the function of the work These sites are ideal and special as well as being independent. Ultimately, it seems that the creative process of contemporary artists is to carry those intended form on the structure of perception. Furthermore, law of nature such as entropy, and acceptance of contingency helped organic structure of artwork become more abundant. For Robert Smithson, entropy suggests of reaching to a state of equilibriumin which everything is the same. This means that any core is justifiable and any rank is possible. Because the world without a core is a labyrinth of boundless exploration.
The purpose of this research is to classify that fashion and art in the twentieth century broadened the creative field by individually applying each other's ideas or through collaboration. This paper analyses the work of individual artists and fashion designers who created work on the boundaries of fashion and art. These samples are selected to extract features related to specific periods as it is proposed that contemporary creation has been developed from a combination of fashion and art, sharing their distinct concerns. Accordingly, this research will focus on the collaboration between fashion and art in the twentieth century from the aspect of 'fashion into art'/'art into fashion' in order to analyse the historical flow, and thereby examine the relationship between fashion and art. The cross-fertilization between fashion and art was initiated as an imitation of form in the early twentieth century, and led to a 'new cross-disciplinary form' which exists on the boundary of fashion and art. This paper considers the relationship between fashion and art from the perspective of sharing intrinsic concepts and the creation of a new creative sphere. It analyses the characteristics of the works of fashion designers and artists whose works lie on the boundary between fashion and art.
The most common conception of a work of art is as a unique object. In conservation the prevalent notion of authenticity is based on physical integrity, this guides judgements about loss. For the majority of traditional art objects, minimising change to the physical work means minimising loss, where loss is understood as compromising the (physical) integrity of a unique object, and this forms the focus of conservation. Fundamental to conservators' approach to the conservation of contemporary art is the notion that the artist's intent should guide conservators' practice. Since most of the artists creating installation art are living, it is possible to interview them about the details of the installation, attitudes to changing technology, parameters of acceptable change and their views about what aspects of the installation are essential to preserve. Conservation is no longer focused on intervening to repair the art object but has become concerned with documentation and determining what change is acceptable and managing those changes. In order to accurately install works in the future it is necessary to broaden our focus to include elements of an installation that affect the viewer's experience. This might mean documenting the space, the acoustics, the balance of the different channels of sound, the light levels and the way one enters and leaves the installation. These are as important as the more tangible or material elements in the conservation of the work. It is also necessary to work with industry and specialists outside the field of conservation to develop new skills to preserve and manage new types of objects in our care. We can also document the less tangible details of an installation such as the light levels, the character of the sound etc. This is a new area of conservation and as a profession our understanding and knowledge will deepen with time. All of these strategies work together to help to limit the risk of not being able to accurately install these works in the future. Deciding what can be changed and how to best care for any element of an installation will depend on its meaning and role. For both contemporary and traditional objects such decisions are documented by conservators and although the focus of the conservator may have moved away from the material object, the approach is still rooted in traditional notions of collection care.
Journal of the Korea Fashion and Costume Design Association
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제13권1호
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pp.99-112
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2011
The purpose of this research is to study India's traditional embroidery method, Mirror Work, and to evaluate the examples of contemporary costumes as well as the applications of art to clothing that have been influenced by this technique, in order to expand its usage for creation of a new fashion image. Research in the literature and application of works related to Mirror Work have demonstrated: First of all, as a traditional embroidery method that represents the folk art of India, Mirror Work displays unique methods used in different regions and the way that various methods and materials were combined by the use of mirrors, beads, and $appliqu{\acute{e}}$. Secondly, it was found that the presentation of Mirror Work in the $pr{\hat{e}}t$-a-porte collection is based on a traditional embroidery method using both developed materials and adapted methods to express traditional reproducibility, geometric simplicity, and aesthetic characteristics of complex decorations. Thirdly, new plasticity for art to wear clothing can be created through various methods aside from embroidery, for example by a technique of wrapping crochet laces and tapes around the mirror for decorative purposes. Based on these results it can be inferred that, from the perspective of multiple forms for decorations, Mirror Work shares multiple forms of personal aesthetic goals through the mirror's unique quality for expression and enhanced images of artistic decorative art. Also, the introduction of traditional materials and methods for today's folk art and traditional costumes can be the subject of unique aesthetic characteristics based on different perspectives of the recreation of tradition. Finally, it can further create a new plasticity within the globalization phenomena.
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.
International Journal of Computer Science & Network Security
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제21권4호
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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.
What is 'Art Theory'? In the western sense, the term poses a vague ambiguity, and in the eastern, it is rather an abstract and metaphysical concept. As for etymology, theory is derived from theoria and theoria from theoros. It refers to an act of viewing or seeing, of course not in a metaphysical sense. Plato understood it as 'eide'. During the time of Plotinus, theoria encompassed gazing at every possible reality, and this gazing, that is theoria, is closely related to reality as aunit that theoriacan perceive. However, we tend to distinguish, as other scientists of dualism have done, studio art from theory since a pre-modern approach to art has been particularly tuned to studio practice, set apart from theory. Therefore, in studio classes, students are expected to learn the subject based on the foundational curriculum methods such as medium, genre, technique:, rather than bringing out their own interpretations and discussing theories. As a result, students have become artists, who are not able to understand their own art. Art professors who conduct class in studio are required to proceed with specific 'theories' as well as 'intellectual reflections'. In this respect, this thesis presents poiesis and an idea of 'acting out'. Although art history and aesthetic theory tend to view art as a finished product, actual art-making and related theories should not only be acknowledged as 'completion' (finition) but also be accompanied by theoretic interpretations of the act itself and process. Accordingly, it is to accept and appreciate art as finished result in view of current theory and aesthetics thus boils down to aisthesis. Likewise, poietics starts from a point where an artist is related to studio and examines the 'work process' that extends as far as to the exact end of work. Through the study of such relationship, it is possible that theory understands 'studio' and 'process', and an artist can grant an independent meaning to studio where s/he pours her/his heart out creating a work of art. Theory is a study on artistic discovery thus should be equipped with functions that can accommodate fortuity, imitation, thinking, culture, and surrounding.
The following thesis has been composed with the inspiration attained from Paul Ardenne's conception on Contextual Art. In Europe and in the United States, there is a group of artists who emphasize in the importance of artist's participation in social, political, economical, environmental and moral issues. Since the 1960's, these artists have pondered on Modernism's ideas where art is contextually separated from humanly issues whereas the manners of such artists put on emphasis in the intent to participate in the real human social and ethical issues. Forerunner in this field of art such as Wolfgang Leib display hybrid or meta style in their work. His work displays a quadrilateral form of pollen which represents the simultaneous blending of two mixed ideas such as the abstract from the real. Thus heterogeneous style and philosophy which includes a range of medias and today's trend is observed in Contextual Art. Such art form is also found in landscapes where it is not seen as an observable object but rather an interactive object. It is correlated to Arte Povera of the Italian Art Movement, Support-Surface of the French Art Movement and lastly to the Fluxus. Through these art movements, we find a mutual antipathy towards putting art for sales in the capitalism market and reflect the social role of art in postmodern era.
Analysis on Kandinsky's Work as a Case Study of Art Therapy. This study attempts to analyze a work of W. Kandinsky, who placed great emphasis on the relationship between the form and the color of an object, from the viewpoint of art therapy. Most papers related with fine art work analysis approach it from the aesthetical point of view and there are few attempts to interpret art works in terms of art therapy. This study tries to present a new angle to the studies of art therapy Practiced up to now and research is made on its potentiality. With an analysis on the relationship between human psychology, and color and form that convey visual language, research is made on the feasibility of art therapeutic methods through the approaches based on color psychology, Gestalt theory and perception psychology. The final purpose of this study is to apply the results to the development of illustrations, education program for children, and educational instruments and toys that will promote children's healthy emotional growth based on the color psychology and the form psychology of human being. As an initial study, a piece of Kandinsky's work, titled ' CERCLES DANS CERCLE', is analyzed as a case study of art therapy both from theoretical standpoint and from the viewpoint of art therapy. Through this effort, it can be utilized as a new case study of art therapy that will influence human emotion positively and lead to healthful emotional catharsis.
This study was aimed to make clear fashion is an expression art displaying not only functional or commercial aspects, but creative functions as an artistic work by analyzing Art Mode and its values, and to help develop more creative design by combining fashion with art. In terms of method, relevant documents, precedent studies, and the works announced in domestic and foreign fashion collections, such as Vogue, Fashion News, Gap, and Collections from 2000 to 2009. According to the findings, artistic works were used by the Art Mode in modern fashion. The respect of artists was expressed using historic famous painting works or current works in various fields, designers' individuality was shown by directly applying work messages to clothes, and fashion design was converted into a tool to communicate the messages like artistic works. Second, the various styles, using the formative character of modern art styles from animalism to modern abstractism, showed the creativity of design, transformed art into the art that enables to see the image of modern art, and presented the possibility of developing into a newer creative design through the application of numerous art styles and the transformation of ideas. Third, the collaboration with artists was used. Fashion designers or fashion brands tried to change the images of works or brands in partnership with artists or to increase differentiated images. The future direction of fashion is a pursuit of new form and content to express fashion, not simply to use artistic works. It is expected that such pursuit will lead to more creative and artistic fashion design.
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