세계 아트페어 동향과 한국아트페어의 전략

정종효 유럽문화예술학회 2016 유럽문화예술학논집 Vol.7 No.1

The art fair depends on the business type and activities of the g머leη , a key player in the art market under the distribution structure of artworks. Nowadays, the art fair has gained more focus in the 따t market as the 따t market evaluation depends on the gallery performance in the art fair, as well as the positive or negative auction result in the global 따t market. Therefore, it may be said that the emergence of art fair is outstanding in the art market for the recent 10 years. The survey on the Korean art market by the Korea Arts Management Service indicated that the total transaction amount of loc머 galleries reached 275.1 billion KRW in 2012 but decreased to 204.8 billion KRW in 2015 even though the total transaction amount of local art fairs marked 42 billion KRW in 2012 but showed large increase to 62.4 billion KRW in 2015. It is the evidence that the artwork transactions by galleries have expanded the sales network through art f려rs and the 따t market maintained by galleries has attracted collectors and ordinary people for robust art fairs and rapid gro찌7th. Art fairs in the world have set up their positions as a new distribution channel in the global art market and the sales revenue of galleries from art fairs increase even though the sales portion of exhibitions by galleries shrink in the aspect of the gallery business. The concept that a gallery holds an individual or group exhibition through internal planning and sells artworks has lost its meaning and collectors have changed their minds to choose wider range of selections rather than narrow range of gallery exhibitions. That is why galleries have sought the breakthrough for their activities from the art fair. In addition, the art fair sells artworks during the event, provides networks for galleries, 따tists , 따t museums and collectors and has taken its root as an influential art event for the 따t culture to be quickly absorbed to the public through the synergy. Another merit of the 따t fair is to expand the 따t market area of the gallery. In P따ticular, it is characterized that countries with weak art market infrastructure or unstable scale and in the economic recession may perform global business beyond the gallery regardless of national or regional boundaries and the 따t fair leads customers worldwide to be within the boundary and utilizes customer base beyond the border. The Korean art market has joined more global art fairs since Jean Art Gallery took part in the FIAC for the first time in 1984 and local art fairs have rapidly increased. Against this backdrop, it is time for one of local 따t fairs to raise its recognition as a global art fair and play a role in vitalizing the Korean art. Here is to mention several key requirements for the local 따t fair. First, the strategy shall be developed for independent organizations and personnel and the expert pool be expanded. Second, it is urgent to secure the database for local and global infrastructure of collectors depending on participating galleries and set up direct management systems. Third, PR marketing strategies by experts sh머1 be e바lanced and contain distinct contents for local and foreign markets. Fourth, the art fair shall overcome its independent features and limited network and enhance functions for converged contents. Last, it is required to provide direct assistance in attracting galleries through realistic marketing strategies for artwork sales and lead a lot of foreign g떠leries. These conditions are prerequisite for setting up long-term strategy and specific vision of the 않t fair and it is important whether collectors visit art fairs and galleries show their willingness to partlclpate in.

한국 Art Fair의 현황과 비전: 외국 Art Fair와의 비교를 중심으로

최병식(Choi Byungsik) 한국예술경영학회 2004 예술경영연구 Vol.6 No.-

Korean art market shows consistent change. Whereas the market was centered among the existing galleries, now the Art Fair and Auction are playing major roles in the market. Sales from galleries tend to receive better credit from the public; however, an objective analysis of sales still has many barriers. it is hard to calculate the market’s yearly sales, including the number of sales in certain categories, yearly sales distribution, and appraisals of art works at the buying and selling. Art markets deal art works with the sole purpose for profits, however Korea’s art market values tradition and self-judgement, which create an undesirable effect and limits. Among the three major components in the art market-Art Fair, Gallery, and Auction, this study concentrates on the Fair which began with Art Cologne in 1967 and displayed rapid growth in the western art market. To overcome the limits of the art market in this country, this study will observe the major foreign art fair, current status and trends. In addition, this study will find the problems in Korean art faisr such as trust, clean transaction, and variety of artists; analyze the status of Korean art fairs; and compare them with foreign art fairs.

Activation Plans for International Art Fairs

송진영 조선대학교 국제문화연구원 2013 국제문화연구 Vol.6 No.1

This study aims to develop growth plans for art fairs by understanding their international status so they can be more competitive. An art fair is an art market and Art Basel, Switzerland, Koln Art Fair, Germany, Foire Internationale d'Art Contemporain(FIAC), France, and Chicago Art Fair, the U.S.A. have grown greatly in Europe and America based on local economic power. As the economy of Europe and America has become depressed, Art fairs have shifted to a new paradigm centering on the best artists and high-priced works of art. Based on new and strong economic power, China and India and Korea in Asia and the Middle Eastern countries have followed this trend. As measures to overcome the conditions of a depressed economy, London Frieze Art Fair adopted a method to develop and support young competent artists and the ARCO Art Fair of Spain has greatly increased its sales and the number of attendees with a new system that includes the active support of public institutes beyond the four main art fairs. With this in mind, this study investigated the status of national art fairs in their developmental processes and structures, and analysed eight main international art fairs and Asian art fairs to understand the main factors in their growth and to develop growth plans. In conclusion, for Korean art fairs to grow as world class art fairs, the ability to plan exhibitions, active support from public organizations, improvements in the education systems, the production of more experts, having a higher national competitiveness, and an organized database of market information will allow them to develop as art markets with reasonable distribution structures.

런던 프리즈 아트페어의 성공 전략 : 마케팅, 담론, 도시 활성화

조사라 유럽문화예술학회 2023 유럽문화예술학논집 Vol.14 No.1

London magazine Frieze launched the London Frieze Art Fair in 2003, which presents a large number of young and experimental works that are different from existing art fairs. Since then, the host city has expanded from New York in 2012 to Los Angeles in 2019 to Seoul in 2022, and the Frieze Art Fair, which has a relatively short history compared to other international art fairs, is strengthening its position in the art world beyond the art market in a short time. In addition, with the first Frieze Seoul held in Asia, domestic and international interest in the art market is increasing. In particular, in the art market, art fairs have been formed from artists and critics to art dealers and collector, and since the 2000s, art fairs have been centered on auction companies and art fairs, and art fairs are strengthening their position in the international art world. Frieze London's success strategy was analyzed from the perspective of corporate sponsorship and marketing, exhibition, and city. Frieze London expanded significantly when Deutsche Bank began sponsoring Fair as its main sponsor in 2004, suggesting that it needed stable funding, expanding from the image of the art market for art sales, holding various academic events, and implementing trends in the biennale. In particular, while making good use of London's cultural and artistic infrastructure, art galleries and galleries held exhibitions promoting or focusing on their own art during the Frieze London period, expanding the entire city to cultural and artistic sites. Through this thesis, I hope it can be applied to festivals as well as domestic art fairs. 런던의 잡지회사인 프리즈(Frieze)가 기존의 아트페어와 차별화된 젊고 실험적인 작품을 대거 선보이는 런던 프리즈 아트페어(Frieze Art Fair)를 2003년 시작하였으며 이후 2012년 뉴욕, 2019년 로스앤젤레스에 이어 2022년 서울까지 개최도시가 확장되었다. 여타 국제적인 아트페어와 비교했을 때 상대적으로 역사가 길지 않은 프리즈 아트페어는 단시간에 세계 3대 아트페어로서 미술시장을 넘어 미술계에서 입지를 강화하고 있다. 또한 아시아권에서 프리즈 서울이 처음으로 개최되면서 미술시장에 대한 국내외의 관심이 더욱고조되는 상황이다. 특히 미술시장이 작가와 비평가 중심에서 아트 딜러와 컬렉터 중심으로 그리고2000년대 이후에는 경매회사와 아트페어 중심으로 형성되고 있으며, 아트페어가 국제 미술계에서입지는 강화하는 추세이다. 이러한 미술시장의 흐름 속에서 프리즈 런던의 성공 전략을 기업의 후원및 마케팅 차원과 전시의 관점, 도시의 관점에서 분석하고자 한다. 프리즈 런던은 도이치뱅크가 2004년부터 메인 스폰서로 협찬하기 시작하면서 그 규모가 크게 확장되었으며, 이는 곧 안정적인 재원 조달이 필요함을 시사한다. 이와 함께 프리즈 런던을 전시의 관점에서 보면 동시대 미술의 담론 장인 비엔날레 등에서 보여졌던경향들을 미술시장 체제 안에서 실행시키면서 또 다른 미술적 권위와 담론의 지표로서 역할을 강화하고 있음을 알 수 있었다. 특히 런던의 문화예술 인프라를 잘 활용하면서 프리즈 런던 기간 동안 미술관및 갤러리들이 자국 미술을 알리거나 주력하는 전시를 개최하면서 도시 전역이 문화예술 현장으로활성화되고 있었다. 본 소논문은 런던 프리즈 아트페어의 성공 전략을 마케팅, 담론, 도시 활성화 차원에서 분석하면서국내 아트페어를 비롯해서 축제에도 적용하는데 목적이 있다.

대안형 아트페어의 특성 연구

김경현,김선영 한국상품문화디자인학회 2022 상품문화디자인학연구 Vol.70 No.-

Recently, many alternative art fairs have been created one after another, but most of them are disappearing without being able to endure for long due to the limitations of their operational structure, lack of financial resources, and competition with similar art fairs. Therefore, this study tried to suggest the development plan of the alternative art fair by analyzing the characteristics of the alternative art fair and pointing out the problems pointed out in the operation process. As the research method, multi-case analysis and in-depth interviews were adopted. ‘Eulji Art Fair’ was selected as a domestic example, and ‘Independent Art Fair’ and ‘Spring Break Art Show’ were selected as overseas art fairs. As a result of the study, the characteristics of the alternative art fair are that, first, it serves as a new space and a place of information exchange for up-and-coming artists. Second, it provides opportunities for up-and-coming artists and new spaces, and broadens the spectrum of artists and media to form a diversity of works. Third, although it focuses on enhancing the credibility of the event management through collaboration with institutions and communication between galleries, it is insufficient to evaluate the credibility of the work value. Fourth, the openness is increased by increasing the participation of the audience through SNS PR, field events, and side events. Fifth, a network is formed naturally when new spaces and emerging artists with similar situations and interests gather. In addition, as problems of the alternative art fair, publicity focused on SNS, lack of budget, inexperienced operation, and monotonous profit structure were derived. As a development plan, a plan for profit improvement was prepared for expanding various PR channels and stable finance, securing sufficient labor and thorough preparation in advance were suggested. 최근 많은 대안형 아트페어들이 속속 생겨나고 있지만 대부분 운영 구조의 한계, 재원의 부족, 유사 아트페어와의 경쟁 등으로 인해 오래 버티지 못하고 사라지고 있다. 이에 본 연구는 대안형 아트페어의 특징을 분석하고, 운영 과정에서 지적되는 문제점을 짚어봄으로써 대안형 아트페어의 발전 방안을 제시하고자 하였다. 연구 방법은 다중사례 분석 및 심층 면접을채택하였다. 국내 사례로는 ‘을지아트페어’를, 해외 아트페어로는 ‘인디펜던트 아트페어’, ‘스프링 브레이크 아트쇼’를 각각선정하였다. 연구 결과, 대안형 아트페어의 특성은 첫째, 신생공간과 신진작가들의 정보 교환의 장으로서의 역할을 한다. 둘째, 신진작가와 신생공간에 기회를 제공하고 작가와 매체에 스펙트럼을 넓혀 작품의 다양성을 형성한다. 셋째, 기관과의협업과 갤러리들 간의 소통을 통해 행사 운영에 대한 신뢰도를 높이는데 집중하지만, 작품 가치에 관한 신뢰성 면에서는평가하기 부족한 면이 있다. 넷째, SNS 홍보와 현장이벤트, 부대행사를 활용하여 관객의 참여를 높여 개방성을 높이고 있다. 다섯째, 비슷한 상황과 관심사가 비슷한 신생공간과 신진작가들이 모이기에 자연스럽게 네트워크가 형성된다. 한편 대안형 아트페어의 문제점으로는 SNS에 치중된 홍보, 예산 부족, 운영 미숙, 단조로운 수익구조 등이 도출되었다. 발전 방안으로는 다양한 홍보 채널을 확대, 안정적 재정을 위해 수익개선을 위한 방안 마련, 충분한 인력 확보와 철저한 사전 준비등을 제시하였다.

MZ세대의 아트페어에 대한 인식과 행동 특성 연구

이민하 한국엔터테인먼트산업학회 2023 한국엔터테인먼트산업학회논문지 Vol.17 No.2

Korea's art market has been rapidly growing since 2020, following a long recession. Despite the COVID-19 pandemic, the key factor driving the revitalization of the art market is the growth of art fairs. Recently, the total amount of art transactions at domestic art fairs has continued to rise, and the number of visitors has also increased unprecedentedly. One of the main causes of art fair growth is the new influx of Generation MZ. Art fairs have recently begun to attract attention due to visits by celebrities and influencers, and have gained popularity among Generation MZ as a so-called "Instagrammable" spot, including art exhibitions and parties with many attractions. This study aims to investigate the perceptions and behavioral characteristics of Generation MZ visitors regarding art fairs, who will be the main customers of the future art market. To this end, in-depth interviews were conducted with 17 art fair visitors. As a result, the participants recognized art fairs as a form of 'intellectual entertainment' and used them as a means of self-expression to boost their intelligence and economic power. For the Generation MZ, art fairs are also an object of self-development and investment. Unlike older generations, they tend to be active collectors who aggressively invest overseas, and actively promote and sponsor artists. These findings suggest that today's art market, which welcomes new customers, must fully understand the values and benefits pursued by these new customers and explore and discuss the development of new content and services to meet their needs.

한국 아트페어의 문제점과 해결방안 연구

정종효 차세대컨버전스정보서비스학회 2018 디지털예술공학멀티미디어논문지 Vol.5 No.2

There has been a remarkable change in the Korea art market for the last 10 years in order to revitalize the art trade. Both art sellers and buyers are increasingly dependent on art fair and the total number of art fairs in Korea, which was only 21 in 2008, is estimated to be 47 in total, including Seoul in 2017[1]. However, there are few places that are recognized as a professional and international art fair for the increasing number of art fair. This can be attributed to the absence of professional directors and professional manpower systems, budgeting costs, the lack of strategies for attracting galleries and collectors, and the absence of long-term strategies, etc. Besides, although the Korea art fair moved toward international art fair, it has not been recognized as an international art fair because the numbers of participating overseas galleries and artists are too low. In this study, I used the results of a survey on the status of Korea art market by the Korea Arts Management Service as references and I will try to help to promote the Korea art market by diagnosing the problem of Korea art fair problems and suggesting solutions for them. 최근 10년간 한국아트마켓의 작품거래 방법에서 다른 분야보다 눈에 띄는 변화를 보이고 있는 것이 아트페어이다. 작품 판매자와 구매자 모두 아트페어의 의존도가 높아지고 서울을 비롯한 전국에서 개최되고 있는 아트페어가 2008년에 21개 정도에 불과했으나 2017년에는 총 47개에 이르는 것으로 조사되었다[1]. 그러나 늘어난 아트페어의 수에 비해 글로벌 아트마켓에서 전문적이고 국제적인 아트페어로 인정받는 곳은 두 개 정도에 불과하다. 이러한 원인은 총괄디렉터와 전문 인력시스템의 문제, 열악한 예산 문제, 참가갤러리와 콜렉터의 유입전략 문제, 장기전략의 문제 등에서 원인을 찾을 수 있다. 주최자는 국제아트페어를 지향하고 있으나 정량적 평가와 정성적 평가에서 국내외로부터 인정받지 못하고 있다. 이에 본 연구에서는 2008년부터 2017년까지 예술경영지원센터의 한국미술시장실태조사 결과를 주요 참고수치로 하여 국내아트페어의 문제를 진단하고, 이에 따른 해결방안을 제시하여 한국미술시장의 활성화에 도움이 되고자 한다.

미술 대중화를 위한 작가중심형 아트페어 사례 연구

김선영(Sun-Young Kim),이의신(Eui-Shin Yi) 한국산학기술학회 2018 한국산학기술학회논문지 Vol.19 No.2

2008년 글로벌 금융위기의 파급효과에도 불구하고 빠른 회복세를 보인 세계미술시장과는 달리 한국 미술시장은 현재까지도 이전 수준을 회복하지 못하고 있다. 한국 미술시장은 화랑 편향의 유통시스템, 취약한 1차 시장 기능, 소수 컬렉터 중심의 시장 구조로 신진 및 중견작가들로 하여금 시장 진입의 기회를 어렵게 하고, 결과적으로 작가들의 경제적 양극화를 심화시킨다. 또한 높은 작품 가격은 일반인의 시장참여를 제한함으로써 시장의 저변확대를 가로막고 있다. 본 연구는 한국미술시장의 가장 근본적인 문제는 시장 저변의 허약함에 있으며 이를 개선하기 위한 방안으로 ‘대안형 아트페어’가 허약한 우리 미술시장의 체질을 개선하는 단초가 될 수 있다는 점에 주목하고 한국 미술시장의 현황과 예술경영지원센터의 ‘작가미술장터’ 사업 사례를 분석하였다. 분석 결과 ‘작가중심형 아트페어’는 일반인의 미술시장에 대한 관심을 환기시키고, 신진 및 비인기 중견작가들에게 전시 및 판로를 열어줌으로써 시장 저변을 확대하는 방안 중 하나로 미술시장 대중화를 촉진하는 대안형 아트페어이다. 나아가 국내 미술 시장의 체계적인 유통 체계 구축과 더불어 견고한 작가군을 형성할 수 있도록 하는 기초작업이기도 하다. 현재로서는 시장편중 현상이 다른 나라에 비해 뚜렷하고, 대중화가 부진한 우리 미술계의 현실, 그리고 자생력이 부족한 시장의 현장 등을 고려할 때 ‘작가중심형 아트페어, 육성을 위한 공공부문의 마중물 역할이 반드시 필요한 것으로 보인다. 하지만 장기적으로는 직접적인 지원방식이 아닌 홍보플랫폼의 제공이나 소비자 금융지원 등 간접적인 지원방식으로의 전환을 통해 ‘작가중심형 아트페어’의 지속가능성과 그 발전을 도모할 필요가 있다. Unlike the global art market which experienced rapid recovery from the impacts of the Global Financial Crisis in 2008, the Korean art market has not yet fully recovered. The gallery-oriented distribution system, vulnerable primary art market functions, and the market structure centered on a small number of collectors make it difficult for young and medium artists to enter the market and, as a result, deepen the economic polarization of artists. In addition, the high price of art works limits market participation by restricting the general public. This study began with the idea that the interest of the public in the art market as well as their participation in the market are urgent. To this end, we noted that public awareness of art transactions can be a starting point for improving the constitution of the fragile art market, focusing on the `Artist-centered Art Fair` rather than existing art fairs. To examine the contribution of such an art fair to the popularization of the art market, we analyzed the case of the `Visual Artist Market (VAM)` project of the Korea Arts Management Service. Results found that the `Artist-centered Art Fair` focuses on providing opportunities for market entry to young and medium artists rather than on the interests of distributors, and promotes the popularization of the art market by promoting low-priced works to the general public. Also, the `Artist-centered Art Fair` seems to play a primary role in the public sector to foster solid groups of artists as well as to establish healty distribution networks of Korean Art market. However, in the long run, it is necessary to promote sustainable development of the `Artist-centered Art Fair` through indirect support, such as the provision of a publicity platform or consumer finance support, rather than direct support.

한국 미술시장과 경기변동 ―2005~2009년 미술시장을 중심으로

서진수 현대미술학회 2009 현대미술학 논문집 Vol.1 No.13

Recent growth of the Korean art market reached its peak at the end of 2007, when the global economy and art markets experienced booms, having started its growth when an oligopolistic market structure of auction houses developed from the end of 2005. During this period, Korea's representative art fair, KIAF had grown 209% annually for 3 years, galleries traded art works through various exhibitions and art fairs, and the number of auction houses increased rapidly as the amounts of successful bids expanded. However, the domestic art market sharply declined at the end of 2007 when the global economy went into a recession, experiencing a serious depression in 2008 and up until the first quarter of 2009. The objective of this research is to enhance understandings about changes in the size of the Korean art market, its relationship with business cycles and implications by examining the expansion and contraction phases of the market, viewing the 2005-2009 period as a business cycle. For this goal, this paper utilizes the statistics on the total sales of major galleries recorded in the electronic public notice system of the Financial Supervisory Service, the publicly-announced amounts of sales of art fairs, and amounts of successful bids in the auction markets, art funds, exports and imports of art works shown on the Korea Customs Service homepage. This paper focuses on measuring the market size and its change for 5 years of recovery, boom, contraction and depression, dividing the period into the boom and development phase of the art market from 2005 to 2007 and the depression and structural change phase in 2008 and 2009. It also shows that the boom and bust of the domestic art market involved the effects of economic factors, major art-related socio-political events, and the vulnerability and problems of domestic art markets. During the boom, there was growth factors such as economic factors, the impact of cultural industry development, and internal market changes, which led to the increases in the sales and number of galleries and their overseas branches, establishments of auction houses, amounts of successful bids, the debut of art funds and the provision of art works by private banking centers of commercial banks and department stores. In the depression period, we could observe market disturbances from decreases in exhibitions and sales of galleries, sharp declines in the amounts of successful bids, plummeting exports and imports due to the global economic recession and soaring oil prices. Yet, we should mention some positive factors for development such as informationization of the market, increased research, and forecasts for recovery, etc. The domestic art market has changed dramatically through the business cycle, and the government, firms and individuals participating in the market obtained the valuable knowledge on recovery of trust, establishment of the appraisal system, price determination, cultivation and training of art-market experts, cooperation of art museums and art markets, etc. The most crucial implication is that the art market also experiences changes linked to other capital markets such as securities and real estate markets and the national and global economy. Recent growth of the Korean art market reached its peak at the end of 2007, when the global economy and art markets experienced booms, having started its growth when an oligopolistic market structure of auction houses developed from the end of 2005. During this period, Korea's representative art fair, KIAF had grown 209% annually for 3 years, galleries traded art works through various exhibitions and art fairs, and the number of auction houses increased rapidly as the amounts of successful bids expanded. However, the domestic art market sharply declined at the end of 2007 when the global economy went into a recession, experiencing a serious depression in 2008 and up until the first quarter of 2009. The objective of this research is to enhance understandings about changes in the size of the Korean art market, its relationship with business cycles and implications by examining the expansion and contraction phases of the market, viewing the 2005-2009 period as a business cycle. For this goal, this paper utilizes the statistics on the total sales of major galleries recorded in the electronic public notice system of the Financial Supervisory Service, the publicly-announced amounts of sales of art fairs, and amounts of successful bids in the auction markets, art funds, exports and imports of art works shown on the Korea Customs Service homepage. This paper focuses on measuring the market size and its change for 5 years of recovery, boom, contraction and depression, dividing the period into the boom and development phase of the art market from 2005 to 2007 and the depression and structural change phase in 2008 and 2009. It also shows that the boom and bust of the domestic art market involved the effects of economic factors, major art-related socio-political events, and the vulnerability and problems of domestic art markets. During the boom, there was growth factors such as economic factors, the impact of cultural industry development, and internal market changes, which led to the increases in the sales and number of galleries and their overseas branches, establishments of auction houses, amounts of successful bids, the debut of art funds and the provision of art works by private banking centers of commercial banks and department stores. In the depression period, we could observe market disturbances from decreases in exhibitions and sales of galleries, sharp declines in the amounts of successful bids, plummeting exports and imports due to the global economic recession and soaring oil prices. Yet, we should mention some positive factors for development such as informationization of the market, increased research, and forecasts for recovery, etc. The domestic art market has changed dramatically through the business cycle, and the government, firms and individuals participating in the market obtained the valuable knowledge on recovery of trust, establishment of the appraisal system, price determination, cultivation and training of art-market experts, cooperation of art museums and art markets, etc. The most crucial implication is that the art market also experiences changes linked to other capital markets such as securities and real estate markets and the national and global economy.

쿠오바디스, 차용미술의 미래는 어떻게 될 것인가? - The Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith 사건을 중심으로 -

민경재 한국저작권위원회 2023 계간 저작권 Vol.36 No.2

The Supreme Court’s ruling on “Andy Warhol v. Goldsmith” (hereinafter referred to as the “Andy Warhol case”) was made on May 18, 2023. The Supreme Court agreed with the ruling of the Second Circuit Court of Appeals and ruled that Andy Warhol’s “Orange Prince” and “Prince Series” were copyright infringement, not fair use, because they could not be regarded as transformative use. This case will be the most important case in the art world as a ruling on fair use in the past 20 years or so. And the outcome of this ruling could have a tremendous impact on the future of appropriation art, so-called pop art. In the Andy Warhol case, the rulings of the first trial and the appeal trial were sharply divided. The first trial judged that Andy Warhol’s use could not be regarded as fair use for each factor of judgment, but as a result, it was fair use. However, the appeals court ruled in favor of Goldsmith, judging that the first trial court made a mistake in reviewing the fair use factors and that it was not fair use in all of the fair use judgment factors. Therefore, this paper analyzed the rulings in each court. In addition, the concept of appropriation art in Korea and copyright infringement cases related to the current parody were reviewed, and what judgments would be made if the Andy Warhol ruling was applied to Korea in the future. Finally, in Korea, it was concluded that it is desirable to actively interpret fair use doctrine as much as possible so that freedom of creation can be guaranteed if fair use is a problem in copyright infringement cases.