레베카 루이즈 로우 작품에 나타난 설치미술적 플라워디자인에 대한 인식

이희승 ( Lee Hee Seung ),왕경희 ( Wang Kyung Hee ) 한국화예디자인학회 2017 한국화예디자인학 연구 Vol.37 No.-

설치미술과 플라워디자인은 오늘날의 다양한 표현매체와 양식의 자유로운 통합이라는 측면에서 첨단적인 미술의 개념을 함축하고 있으며 보다 확대된 현대미술의 시대적 산물로써 그 영역을 확장해 가고 있음을 알 수 있었다. 설치미술적 플라워디자인이 다양한 공간연출에 적용된 작품 사례들을 알아보기 위해 런던의 레베카 루이즈 로우(Rebecca Louise Low)의 꽃 작품을 중심으로 분석하여 일반인과 전문가 이용 경향에 대한 인식을 알아봄으로써 미래의 플라워디자인 분야에 발전 가능성을 제시하고자 본 연구를 수행하였다. 플라워디자인을 이용한 설치미술 작품을 감상해 본 적이 있는가에 대해 일반인들은 50%정도였고, 전문가는 94% 거의 대부분이 감상해 본적이 있는 것으로 알 수 있었고, 제작 경험은 주로 전문가대상에서 나타났으며, 제작경험이 없는 이유에 대해 전문가는 제작 방법을 알 수 없거나 어렵다는 것으로 응답하였다. 설치 미술 작품을 제작할 경우 일반인과 전문가 모두 제작 시 우선적으로 고려해야 할 사항으로 `장소`에 대한 선택이 가장 중요 하게 생각하는 것으로 나타났다. 레베카 루이즈 로우의 테마별 작품 중 기하학적인 요소가 많은 작품을 분석한 결과 일반인과 전문가 모두 SCULPTURE 작품인 것으로 나타났고, 입체적인 요소가 많은 작품으로 일반인과 전문가 모두 INSTALLATION 작품인 것으로 나타났다. 창의적인 요소가 많은 작품으로는 대체적으로 일반인은 INSTALLATION작품으로 전문가는 SCULPTURE 테마 작품인 것으로 나타났고, 반면에 창의적인 요소가 가장 적은 작품으로 일반인과 전문가 모두 PRINTS 테마 작품인 것을 알 수 있었다. 레베카 루이즈 로우의 플라워디자인을 이용한 설치미술 테마별 작품에 대한 선호도를 보면 일반인과 전문가 모두 INSTALLATIO이 가장 많았고, SCULPTURE, PRINTS 순으로 나타나 대체적으로 INSTALLATION 테마 작품을 가장 선호하는 것으로 나타났다. 레베카 루이즈 로우의 플라워디자인을 이용한 설치미술 테마별 작품 중 INSTALLATION 행잉 플라워디자인을 활용하여 연출할 경우 가장 최적의 장소는 일반인의 경우 건축물 출입구로 조사되었으며, 전문가를 대상으로 선호도를 분석한 결과 호텔웨딩 장식, 전시회, 패션쇼, 건축물 출입구, 백화점 등 다소 차이가 나지 않는 것으로 보아 여러 장소를 선호하는 것으로 확인할 수 있었다. 또한 작품의 평균값을 테마별로 측정한 결과 INSTALLATION 4 작품 모두 일반인에 비해 전문가의 작품 만족도의 평균값이 가장 높은 것으로 보아 만족도가 높다는 것을 확인할 수 있었다. 작품의 구성에 따른 디자인 요소부분의 분석 결과를 보면, 선적인 요소와 공간적인 요소가 두드러지게 나타나고 있으며, 디자인 요소의 상관분석은 칼라와 질감이 높은 상관을 보여주고 있으며 디자인 원리부분의 분석 결과를 보면, 통일(3.85), 균형(3.71), 리듬(3.50)의 디자인 원리 부분에 있어 서는 평균값이 가장 높게 나타나는 작품으로는 INSTALLATION인 것으로 확인되었고, 상관분석 결과 작품에서 균형과 통일감이 높은 상관관계를 나타내고 있었다. Installation art and flower designs embody the concept of progressive art in the way modern mediums of expression and formats are liberally combined in them and thus, as a product of modern art`s age of expansion, it is visible that their reach is expanding. In this paper, I analyze London`s Rebecca Louise Low`s flower art in order to examine the cases of the flower design Installation art being applied to various interior designs, This research was conducted to explore and point out the future possibilities of the flower design field by examining the views experts and non-experts have on the art form. In regards to their exposure to installation art using flower designs, the results show that 50 percent of the non-experts respondents had been exposed while most of the expert respondents had exposure with 90 percent answering in the positive. With the question of personal build experience, most of the positive answers were provided by the experts. Those who answered in the negative gave their reasons to be either they did not know how or it was too difficult. When asked what is most important factor to consider when creating an art installation, both experts and non-experts responded with location being the most important factor to consider. When asked to point out which of the selected Rebecca Louise Law`s art had the most geometric elements, both experts and non-experts chose sculptures while they chose installation pieces in response to being asked to point of the piece with the most three dimensional elements. In response to being asked to point out the piece with the most creative elements, generally non-experts selected installation pieces while experts selected sculptures. In contrast, both groups selected prints when asked about the piece with the least amount of creative elements. In regard to their preference on Rebecca Louise Law`s flower design installation art pieces sorted by theme, most of the experts and non-experts chose INSTALLATION with SCULPTURE and PRINTS coming in second and third. Generally the respondents preferred the installation themed pieces. When asked where the optimal location for Rebecca Louise Law`s hanging flower design installations to be placed is, the results show non-experts preferred building entrances while the preference among the non-experts are distributed widely across locations such as hotel weddings, exhibitions, fashion shows, building entrances, department stores, and etc. There does not seem to be a specific consensus among this group. In addition, the results show the satisfaction levels for all four installation pieces and the average satisfaction level were higher for the experts compared to the non-experts. When the responses regarding the design elements were analyzed, the linier and spatial elements were more pronounced. Thus, it can be inferred that these elements are the most important design elements for installation art when it comes to interior design. From the correlation analysis of the design elements, color and texture are correlated creating a sense of harmony. When the responses regarding the design principles were analyzed, installations had the highest averages for unity (3.85), balance (3.71), and rhythm (3.50). Thus, it can be inferred that these three elements are the most important design elements for installation art when it comes to interior design. From the correlation analysis of the design principles, balance and unity are correlated creating a sense of harmony

필로티 공간 활용을 위한 서스펜디드 설치미술 연구

조능혜 ( Zhao Linghui ),이재규 ( Lee Jaekyu ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.8

(연구배경 및 목적) 도시화 현상으로 건축용지가 고밀도 개발과 활용으로 공간 용적률이 갈수록 높아져 필로티 공간의 활용은 건축이 차지하는 녹지와 활동공간을 효과적으로 채워주고. 그러나 실제적 필로티 공간에서는 공간구조의 모델화, 공간 분위기의 단일화, 문화와 예술적 콘텐츠가 결여되어 있다는 문제점이 있다. 또한, 필로티 공간을 효율적으로 활용하기 위해서 서스펜디드 설치예술을 통한 필로티 공간을 연출하는 것은 공간의 표현력이 증가할 뿐만 아니라 예술적, 미적 가치를 전달하여 공간예술에 더 큰 가능성을 제공해준다. 본 연구는 서스펜디드 설치미술과 필로티 공간의 선행연구를 통하여 그의 요소들이 필로티 공간에 합리적 활용될 수 있는 제안을 제시하고, 필로티 공간의 활동적 욕구를 충족시키면서도 독특한 시각적 경험을 전달해 편안한 공간의 분위기감을 선사하고 관람객들에게 깊은 인상을 남기는 필로티 공간디자인을 연구하는 것을 목적으로 한다. (연구방법) 서스펜디드 설치미술과 필로티 공간의 선행연구를 조사하여 서스펜디드 설치미술과 필로티 공간의 정의를 알아보고, 서스펜디드 설치미술과 필로티 공간의 표현특성에 대하여 분석한다. 앞서 선행연구를 통해 도출된 서스펜디드 설치미술과 필로티 공간의 특성을 바탕으로 종합적으로 검토하고, 공통적 다섯 가지 측면에서 분석하고 재정립하여 필로티 공간 활용을 위한 서스펜디드 설치미술의 표현 특성을 도출한다. 다양한 사례분석을 통해 도출된 표현 특성을 기준으로, 서스펜디드 설치미술을 통한 필로티 공간 연출에 미치는 효과를 알아본 후, 필로티 공간 활용을 위한 서스펜디드 설치미술의 다양한 디자인 제안 및 방향성을 제시한다. (결과) 필로티 공간 활용을 위한 서스펜디드 설치미술에 대한5가지 표현특성(기능적 다양성, 시각적 유도성, 공간적 표현성, 심리적 전달성, 전체적 조화성)이 도출되었다. 도출된 특성을 바탕으로 사례를 분석한 결과 전반적으로 5가지 디자인 요소 중 공간적 표현성이 가장 높게 나타났으며, 시각적 유도성>심리적 전달성>기능적 다양성으로 나타냈고 전체적 조화성이 가장 낮게 분석되었다. (결론) 서스펜디드 설치미술과 필로티 공간은 전통적 예술과 공간에 대한 이해를 깨뜨렸다. 인간은 공간의 체험자로서, 필로티 공간에 서스펜디드 설치미술의 미적 기습을 받았을 때 사람들의 마음속에 있는 지식 욕구를 풀어놓게 되고, 사람들이 수동적인 예술품 수용에서 능동적인 예술품 수용으로, 예술 공간과의 교류로 바뀌게 되는 것이다. 필로티 공간 활용을 위한 서스펜디드 설치미술은 사람들에게 독특한 시각체험을 선사하고 시각인식을 개척했다. 필로티 공간에 재미있는 공간 분위기를 형성하여 공간 환경의 편안함과 감상성을 높이고 있다. 사회적 욕구를 충족시키면서 필로티 공간에 대하여 더 많은 인기와 활력을 불어 넣고 있다. 사람들은 공간체험을 하는 과정에 끊임없이 예술작품과 교류를 주고받으며 각자의 특별함이 있는 장소에서 정신과 문화적 가치를 전달해 공간예술에 더 큰 가능성을 열어준다. (Background and Purpose) Due to the urbanization phenomenon, the spatial floor area ratio of building sites increases due to high density development and utilization, and the use of piloti space effectively fills the green space and activity space occupied by architecture. However, there is a problem in that the actual piloti space lacks the modeling of the spatial structure, the unification of the spatial atmosphere, and cultural and artistic content. In addition, in order to efficiently utilize piloti space, creating piloti space through suspended installation art not only increases the expressiveness of space but also conveys artistic and aesthetic values, providing greater possibilities for spatial art. The purpose of this study is to present suggestions that his elements can be used reasonably in the piloti space through suspended installation art and piloti space, to deliver a unique visual experience while satisfying the active needs of the piloti space, and to study piloti space design that impresses visitors. (Method) Suspended installation art and piloti space prior research are investigated to find out the definition of suspended installation art and piloti space, and to analyze the expression characteristics of suspended installation art and piloti space. Based on the characteristics of suspended installation art and piloti space derived through previous studies, it is analyzed and redefined from five common aspects to derive the expression characteristics of piloti space production through suspended installation art. Based on the expression characteristics derived through various case analysis, the effect on the direction of piloti space production through suspended installation art is investigated in the future. (Results) As a result of analyzing the case based on the derived characteristics, spatial expression was the highest among the five design elements overall, visual inductivity > psychological transferability > functional diversity, and overall harmony was analyzed to be the lowest. (Conclusions) Suspended installation art and piloti space have broken the understanding of traditional art and space. Humans, as experiencers of space, relieve people's desire for knowledge in their minds when they receive the aesthetic surprise of suspension installation art in the piloti space, and change from passive acceptance of artworks to active acceptance of artworks and exchanges with art spaces. Filotti space production through suspended installation art gave people a unique visual experience and pioneered visual recognition. By forming an interesting spatial atmosphere in the piloti space, the comfort and appreciation of the spatial environment are enhanced. It is gaining more popularity and vitality in the piloti space while satisfying social needs. People constantly exchange works of art in the process of experiencing space, delivering their spirit and cultural values in places with their own specialties, opening up greater possibilities for spatial art.

공간과 관찰의 변증법 : 설치 미술(Installation Art)의 범주설정과 문제의식

김승호 ( Kim Seung-ho ) 한국영상미디어협회 2016 예술과 미디어 Vol.15 No.3

이 논문은 21세기 전시문화의 중심으로 부상한 설치미술에 초점을 맞추었다. 우후죽순처럼 늘어나는 국제전시에도 불구하고 새로운 장르로서 설치미술에 관한 논쟁과 더불어 비평의 부재는 오늘만의 문제는 아닐 것이다. 시각미술의 오랜 주제였던 공간개념에 관찰개념이 첨가되어 미술작품을 인식하는 기준이 변하는 것이 고찰되지 않았기 때문이다. 설치 미술을 해석하는 방법론은 차치하더라도 그것의 범주설정에는 침묵만 흐르고 있을 뿐이다. 역사적인 문맥에서 설치미술을 연구한 최근의 논문들은(영어권과 독일어권에서 연구되고 있음) 미학, 미술사, 예술철학, 미술비평을 통섭한다. 변화하는 미술계에적합한 이론적 모델이 확산되고 있을 뿐만 아니라 지각현상의 변화가 설치미술에서 읽혀진다. 최근 서구의 연구서는 방법론적 문제보다는 설치미술이 역사적으로 추진되는 과정과 유형 그리고 카테고리를 들여다보게 한다. 인문학으로서 미술이론이 성립되기 위한 조건은 방법론적 접근에서 시작된다. 관찰자의 역할이 설치미술을 평가하는 기준이 된다는 논리에 방법론적 접근이 성찰되어야 할 것이다. 따라서 이 논문에서는 공간과 관찰이 역사적으로 어떠한 도구와 방법으로 관계를 맺는지 분석을 우선시 했다. 파노스프스키가 중세고딕에서 공간표현을 고찰하여 천상과 지상의 논리가 공간표현으로 포착되었고, 20세기 조각과 회화 간의 장르간의 경계를 해체한 역사적 아방가르드미술을 독해한 네오아방가르드작가들이 공간을 설치하여 새로운 조형예술의 장르로서 설치미술이 수면위로 부상한다. 이러한 역사적인 문맥이 설치미술의 유형을 가늠하는 수단에는 지각과 인식이 바탕을 이룬다. "주관적 전환(Subjektivist turn)"과 “전시가 미술을 생산”하고, 나아가서는 “전시가 관객을 조정”한다는 주장은 설치미술의 범주설정에 관한 문제의식으로서 기술과 변화의 근원을 하나의 개념으로 포착할 수없음을 반증한다. 발터 벤야민의 ‘생산자’와 ‘사회변화의 수용‘, 그리고 ‘현대미술시스템을 전시작가‘로 분석한 오스카 뵈치만, 올프강 캠프의 ‘동시대미술의 관찰자’는 미술전시가 담보한 최상의 조건을 인식하고 미적 가치를 평가하는 방법에속한다. 그들의 이론적 모델들이 설치미술에 한정되지 않더라도 상징성과 은유에서 이탈하여 일상적 삶에 가깝게 밀착하는 설치미술을 방법론적으로 범주화하는데 화두는 남아있다. 설치미술이 미술전시에서 생명력을 획득하는 것은 1970년도에 들어와 본격화되었고, 21세기 최근의 비엔날레와 카셀 도쿠멘타 그리고 뮌스터 조각프로젝트는 새로운 관찰환경을 제시한다. 미술전시는 설치가 경험을 촉발하는 하나의 도구로서 관찰의 대상이 되어 관객을 조정하기 이른다. 공간과 관찰의 변증법은 설치미술을 조형예술로 온전하게 이해하는 길잡이로서 설치미술의 문맥을 재 고찰하는 방법이다. This article puts its emphasis on the study of researching conditions about installation art, which has arisen as a core of the twentieth century``s exhibition culture. While there have been so many international art exhibitions, it seems that the analysis and the criticism on the installation art in Korea have failed to put it on a desirable position. Some recent thesis from English-speaking countries and Germany, focusing on historical contexts of installation art, suggests theoretical models adequate to varying contemporary art world by blending traditional aesthetics, art history, philosophy of art, and art criticism. These studies on the changes of perceptual phenomenon in installation art rather than methodological matter lead us to look thoroughly into the historical process of it. Art theory``s condition as humanistic discipline starts, I assume, from methodological approaches. Therefore, I put my primary emphasis on analyzing how space and observation dialectically engage each other with what sort of tools and methods. On a historical look, Erwin Panofsky studied spatial expressions in Gothic art to apprehend the logic of heaven and earth, and Neo-avantgardists gave birth to installation art by interpreting historical avantgarde art that had destructed the boundary between painting and sculpture during the twentieth century. The perception and awareness should not be ignored on the basis of the measuring tools for installation art``s types in its historical context. Those concepts like ``producer`` and ``the acceptance of social changes`` by Walter Benjamin, the analysis of ``contemporary art system as artists`` by Oskar Batschmann, or the ``observers of contemporary art`` by Wolfgang Kemp, all appreciate the superlative conditions that an art exhibition guarantees, and present some methods for evaluating its aesthetic value. Even though their theoretical models are not limited within the boundary of installation art, they form a main point to categorize methodologically installation art which steps closer to our daily life. It was during the 1970s when installation art obtained its vitality among art exhibitions, but now it suggests new observative environment in recent biennales including Kassel documenta and Munster Sculpture Project of the 21st Century. Installation in art has been becoming an object of observation which triggers viewers`` experience now, as well as the dialectics of space and observation finally becomes a way to comprehend installation art which aims to ``control its viewers.``

현대 도예에 나타난 Installation에 대한 연구 비교 연구

원경환(Won, Kyung-Hwan),안민성(Ahn, Min-Sung) 한국조형디자인학회 2008 조형디자인연구 Vol.11 No.3

Installation Art is the art form of inducing the audience's participation by including the sense of sight, tactile sense, auditory sense, and sometimes the olfactory sensation in 3-dimensional space without remaining in the limitation of visual expression, escaping from the limitation of traditional art genre, which is divided into painting and sculpture, through expanding space of including choice and environment in diverse materials. The installation art has close relationship with a concept called ‘space.’ The installation, which was used in the whole space of exhibition, needs to allow the work to form one relationship rather than being separated from place. Here, the audience is emerged as an important role. An artist allows the audience to participate in the work, thereby leading to the accidental and unpredictable result. And, this can be seen to be the aim to cause the audience to have interest in the work and to provide the artist oneself with an opportunity that can be given inspiration. One of main characteristics in the work of installation art is what has ‘one-time attribute’ of coming to disappear with leaving just photos other records simultaneously with being withdrawal after a number of works had been installed for the fixed period. This is the plastic form that pursues the momentary behavior of escaping from the traditional art idea with saying that art needs to have perpetuity. Thus, in order to avoid a problem that is left just by these materials, the work is preserved by being permanently installed in a public place, or, the special attention is also paid to materials and techniques aiming to prevent damage, if possible. Meanwhile, since the start of the clay revolution centering on Peter Voulkos at the end of the 1950s, the modern art trend and modern ceramic art can be reminisced on one line. The installation art, which is recently showing the remarkable bullish trend in modern art, had natural influence upon modern ceramic art. And, this is possessing one genre in modern ceramic art in the contextual and methodological aspect. The modern ceramic art accepted a concept of modern sculpture, passed through more abundant experience, and arranged the firm position in the new ceramic-art aesthetics. The installation art arranged modern ceramists with the breakthrough of possibility for expression. As this is the sculpture of having the field base after passing through the form like performance, it is adding the motive power to development in ceramic art. Clay comes to have the semi-permanent property after passing through the process of plasticity. This is the part that can judge the possibility of ceramic art as the excellent art medium while supplementing a weak point in the installation art with saying of failing to have independence and permanence as the artistic work.

현대 도예에 나타난 Installation에 대한 연구

원경환,안민성 사단법인 한국조형디자인협회 2008 조형디자인연구 Vol.11 No.3

Installation Art is the art form of inducing the audience's participation by including the sense of sight, tactile sense, auditory sense, and sometimes the olfactory sensation in 3-dimensional space without remaining in the limitation of visual expression, escaping from the limitation of traditional art genre, which is divided into painting and sculpture, through expanding space of including choice and environment in diverse materials. The installation art has close relationship with a concept called ‘space.’ The installation, which was used in the whole space of exhibition, needs to allow the work to form one relationship rather than being separated from place. Here, the audience is emerged as an important role. An artist allows the audience to participate in the work, thereby leading to the accidental and unpredictable result. And, this can be seen to be the aim to cause the audience to have interest in the work and to provide the artist oneself with an opportunity that can be given inspiration. One of main characteristics in the work of installation art is what has ‘one-time attribute’ of coming to disappear with leaving just photos other records simultaneously with being withdrawal after a number of works had been installed for the fixed period. This is the plastic form that pursues the momentary behavior of escaping from the traditional art idea with saying that art needs to have perpetuity. Thus, in order to avoid a problem that is left just by these materials, the work is preserved by being permanently installed in a public place, or, the special attention is also paid to materials and techniques aiming to prevent damage, if possible. Meanwhile, since the start of the clay revolution centering on Peter Voulkos at the end of the 1950s, the modern art trend and modern ceramic art can be reminisced on one line. The installation art, which is recently showing the remarkable bullish trend in modern art, had natural influence upon modern ceramic art. And, this is possessing one genre in modern ceramic art in the contextual and methodological aspect. The modern ceramic art accepted a concept of modern sculpture, passed through more abundant experience, and arranged the firm position in the new ceramic-art aesthetics. The installation art arranged modern ceramists with the breakthrough of possibility for expression. As this is the sculpture of having the field base after passing through the form like performance, it is adding the motive power to development in ceramic art. Clay comes to have the semi-permanent property after passing through the process of plasticity. This is the part that can judge the possibility of ceramic art as the excellent art medium while supplementing a weak point in the installation art with saying of failing to have independence and permanence as the artistic work.

설치미술로서 니팅 아트의 유형 분석과 작품 연구

박선형 한국니트디자인학회 2017 패션과 니트 Vol.15 No.1

Installation art has become a ‘total art’ that makes communications between genres, collapses the gap between life and art and accepts even the space and the audience in the works. Installation art has been developed into the trend of mutual influence, gradually collapsing the boundary between spatial design and other areas of art. Knitting art has expanded to collaborative performance art and installation art customized to the place as it brought about even the parts that come under the act and concept of knitting to the area of installation art, not limited to the formal aspect of textile techniques. Recently, knitting art as an installation art tends to increase gradually, and there is insufficient analysis of the types of knitting art as an installation art and study of works. This study analyzed knitting art as an installation art through a number of materials based on this, to classify and analyze them into decorative, suggestive and participation inducing types according to three most widely installed usages. In addition, this study selected and analyzed a number of representative artists and works based on the preceding studies and various materials such as magazines, news and Internet sites and proposes the possibility of the future development of knitting art as an installation art.

Research on Video Installation Dance as Convergence Art

Junghak Yuk,Hyojung Jun 상명대학교 글로벌문화예술교육연구소 2023 Research in Dance and Physical Education Vol.7 No.3

The development of science and technology due to digital technology has influenced the overall culture and arts and has led to a focus on new media art utilizing new media. This study aims to study what video installation dance is, which makes dance into a video like a movie in this era so that it can be viewed anywhere like installation art. This is a qualitative study that infers the flow and advantages of video installation dance after analyzing digital videos installed in the Seoul area that are currently being used with digital technology. The results are as follows: First, video installation dance satisfies the five senses, which are human instincts, through digital video and can express emotional sympathy of joy in a wide variety of ways. Second, video installation dance can be a cultural phenomenon that the majority of ordinary citizens can view informally and a place for positive communication. Third, video installation dance can expand expression methods and establish the concept of artistic value as a new art form in the overall arts. Fourth, the content of a work of art can be effectively conveyed by installing a video with high visual impact to convey the message of the work. Fifth, it can provide a unique artistic experience to ordinary citizens who appreciate the work. The emergence of an art form that expresses a new world by combining the genres of video, dance, and installation art with the help of the latest scientific technology can be seen as a further development of dance performance. From the perspective of creative knowledge creation in 21st century art, research on today's art technology is expected to create new and diverse types of art.

패션아트에 있어서 설치미술 표현 특성 연구

무윈 ( Mu Yun ),김순구 ( Kim Soonku ) 한국영상미디어협회 2017 예술과 미디어 Vol.16 No.1

“패션아트”(Fashion Art)말 그대로 패션과 관련된 예술이다. 패션아트는 하나의 예술 형식이며 이 예술 형식의 핵심적인 특징은 패션을 매개체 및 소재로써 개인의 감정과 정신세계를 표현하는 것을 강조한다는 점이다. 이것은 현대 예술의 한 종류이며 현대 예술 중 하나인 설치 미술과 함께 창조성, 사상성, 예술성 그리고 예견성의 특징이 있으며 패션 디자인을 이끌고 지도하는 역할을 하고 있다. 현대에서 패션 디자인은 현장 활동 속에서 “예술”이 ”패션”과 어우러지고 ”예술가”가 ”패션”에 어우러지는 하나의 새로운 예술 형식으로 거듭났다. 이 예술은 창작자의 감정 태도, 생활 주장을 어느 정도 반영하였고 하나의 사회성의 문화 형태로 거듭났다. 패션아트는 20세기 60년도의 미국의 패션아트 운동에서 유래했으며 당시 미국에서 활발했던 현대 예술은 패션아트의 전파와 발전에 가능성을 주었다. 20세기 중반은 현대 예술이 활발해지고 포스트모더니즘 예술이 발전하기 시작한 시기이다. 따라서 패션아트는 탄생할 때부터 현대 예술의 수많은 관념 그리고 철학적 사상과 밀접한 관계가 있는 것이다. 설치 미술 또한 20세기 60년도에 시작되었는데 하나의 예술로써 60,70년도의 “팝아트”, “미니멀아트”, “개념미술”등과 연관이 있다. 평론가 마이클 킴멜 만은 설치 미술이 현대에서 발전한 것은 문헌으로 기록되는 기능과 연관이 있다고 주장했다. 이 방면에 대한 설치 미술의 잠재력은 회화, 조소 그리고 촬영 등의 예술 형식을 훨씬 뛰어넘는다. 설치 미술과 패션아트의 결합은 현대 사회만이 가지고 있는 새로운 것이며 패션미래의 발전과 밀접한 관계가 있다. 따라서 이것은 우리가 중시해야 할 가치가 있으며 또한 깊이 연구해야 할 것이다. 본 연구는 설치미술의 형태의 집중 분석을 통해 설치미술의 표현적 특성을 뽑아내고, 이러한 특성과 패션예술과의 관련성을 분석하였다. 우선, 설치미술의 실물성, 관념성, 상호작용성, 장소 특정성, 시간성, 매개 다양성, 확장성이란 7개의 표현적 특성을 뽑아낸 것이 본 연구의 중요한 연구결과라 볼 수 있다. 이를 기반으로 패션예술의 많은 작품 사례들을 심층적으로 연구한 뒤, 설치미술의 공통적인 표현적 특성 중 관련도가 가장 높은 특성으로는 실물성, 관념성, 상호 작용성, 장소 특정성 그리고 매개 다양성임을 알 수 있었다. 이 다섯 가지의 설치미술의 표현적 특성과 패션예술을 융합하고, 또 이를 창작의 출발점으로 삼으면, 패션에 더욱 풍부한 시대적 특징이 담긴 참신함을 부여할 수 있고, 또한 사회 사상의 형태를 반영하는 변화 능력을 부여할 수 있어, 최종적으로 새로운 창작 형식으로 이어져 당대의 패션문화를 해석할 수 있다. 창작자들을 위해 새로운 예술 각도로 패션을 자세히 살펴보게 되면, 전통적인 사고관념을 부수고, 상상력을 더하며, 창작능력을 활성화하여 패션산업과 유행에 더욱 많은 영감을 부여할 수 있다. 이를 통해 문화의 창의적인 산업발전의 촉진이라는 큰 의미를 낳을 수 있다. Fashion art known as Fashion Art in English stresses art related with fashion. It is originated from Fashion Art Movement in 1960s of the United States when contemporary art was active making the transmission and development of fashion art possible. Installation art similarly prevailing in 1960s is also closely linked with the development of fashion art. The combination of installation with fashion is the particularly new thing in modern society. Therefore, it deserves great attention and in-depth researches. Through analyzing the modeling features of installation art, this article has firstly obtained seven manifestation characteristics of installation art: substantiality, conceptualization, interactivity, region-specificity, temporality and medium diversity, expansivity. Then after the in-depth researches on a large amount of examples of fashion art, the article has found that characteristics of installation art also exist in fashion artworks. Through researches and interviews, and correspondence analysis by using five-point measurement method, it proved that fashion art has five installation art characteristics: substantiality, conceptualization, interactivity, region-specificity, and medium diversity. Integrate these five installation art characteristics with fashion art, and then with it as the starting point of creation, endow fashion with innovation of time features and transformation capacity to reflect social ideological form so as to extend new innovation mode for explanation of fashion art in contemporary era. This research can help creators view fashion from the brand new artistic perspective, break through traditional thinking model, activate imagination and stimulate creativity, and infuse more inspirations to clothing industry and fashion industry so that it has the great significance of facilitating the development of cultural creative industry.

니팅 아트 인스톨레이션(Knitting Art Installation)에 나타난 표현개념에 관한 연구

김양수,김정혜 한국니트디자인학회 2014 패션과 니트 Vol.12 No.3

The purpose of this study was to define the term, “Knitting Art Installation” and characterize its art category present the application case and concept. This places the significant importance on the analytic process that applies the intuitive and aesthetic viewpoints-centered systemic approaches and complex variables to the concepts of installation art where the internal cognitive process of audience is very important. Through this, the study analyzed the intrinsic essence and extensional concepts of Knitting Art Installation comprehensively so that it can be used for basic information data necessary to make plans and evaluations of art and design. As the study methods, the study presented the analytic models that pursue structural approaches and specific complex factors of intuitive aesthetics. Subsequently, it reviewed the connection and characteristics of the concepts based on several cases. It was divided into seven expression concepts according to intrinsic meanings and extensional characteristics that are reflected in Knitting Art Installation. The conclusion are as follows: It is verified that Intrinsic aesthetic experiences perceived by experiencers in Knitting Art Installation have the interactions between intrinsic representation and abstract symbolic systems. Here, the expression concept is important for the emotional communication with experiencer in the process of reorganizing and rearranging the medium of Knitting into spacial dimension. Such concepts arise when social and cultural communities get the experiences that can share and communicate with each other. The analytic result revealed that Knitting, a material familiar to us, was integrated into new Knitting Art Installation under the creative idea of artist.

New media installation art in the music field

Jing Yu Cao,Jin Wan Park 중앙대학교 영상콘텐츠융합연구소 2020 TechArt :Journal of Arts and Imaging Science Vol.7 No.1

This article, from the perspective of new media musicians, presents an analysis of the application of electronic music created on the MAX platform, a platform in new media sound installations in the field of contemporary art. The paper briefly explains the concept of installation art and its extension to sound installation art, which is a branch of installation art. The origin and development of installation art is presented, after which the development of contemporary new media sound installation art is described. Subsequently, a brief introduction to the MAX creation platform is provided wherein the origin, development, and application of equipment related to the MAX software are discussed. Finally, musical installation art works are analyzed and the development process of musical installation art is described and the works analyzed.