1920년대 미술교육과 근대화단의 재편

김소연 한국근현대미술사학회(구 한국근대미술사학회) 2019 한국근현대미술사학 Vol.38 No.-

This study attempts to take a new perspective of art education and research on the art world of the 1920s; it focuses on the nature and the members of art institutes to investigate the changes and courses which the art world experienced, based on the new standards of Eastern and Western paintings[東洋畵, 西洋畵]. The first Joseon Art Exhibition held in 1922 caused a great change in the landscape of the art world; the contesting subjects of Eastern painting, Western painting, and calligraphy officially defined the concept of art. The art world had experienced the new concepts of Eastern and Western paintings, grown under a complementary relationship with art education, and adapted to a new form : art for exhibition. In 1923 and 1924, Society of Painting and Calligraphy(書畫協會) and Goryeo Art Institution(高麗美術會, 高麗美術院) almost simultaneously established education institutions with the system of 3 departments that were also shown in the contesting subjects. This study focuses on this aspect first to reveal the correlation between the art world and art education. Materials on the teaching staff and the researchers were gathered to present the nature and the significance of the education institution; as those two institutions were coteries with functions of education and exhibition, the causal effect on the members to gather and promote a new artistic movement was investigated. Also, the aspect of the growth of Western painting was emphasized as an important feature of the art world in the 1920s. The establishment of Sakseonghoe Painting Institute(朔星會) as an education institution of a considerable size for Eastern and Western painting could be observed in Pyeongyang. The focus was on the passion for education of Western painting by the regional art world, intent on revival of the art in Pyeongyang and involving early study-abroad students of Western art, such as Kim Gwanho and Kim Chanyeong. Additionally, art institutes of various school systems, including the Department of Art in YMCA and Gyeongseong Women’s Art School, replaced the absence of a government art school and prospered the art world; it is undeniable that the art education is the most significant contributor to the rapid expansion in size of Western art production in 1920s. The system of art institute, the character of the students and the members of coteries, their role in the art world, and the features of the art world in the 1920s were investigated through this process.

Rethinking Fashion: Fashion, Art and the Anthropology of Art -A Case of the Vivienne Westwood Exhibition at the V&A-

Lee, Jung-Taek The Korean Society of Costume 2004 International journal of costume and fashion Vol.4 No.-

“The ultimate aim of the anthropology of art [fashion] must be the dissolution of art [fashion].” Alfred Gell, Art and Agency (1998) This study aims to rethink fashion by examining issues that have emerged out of recent writings in the anthropology of art. Since their inaugural coinciding, sound discussions have emerged between the anthropology of art and the art world, addressing such subjects as: ‘artworks and artefacts’, ‘Western and non- Western discourse’, and ‘art and agency’ (Gell 1992; 1993; 1996; 1998). This study is comprised of a series of discussions, the subjects of which follow: the relationship between fashion and art; art and the anthropology of art; and in parallel with this, examining the possibility for an anthropology of fashion. This study employs a qualitative approach based on the discussion of relevant literatures dealing with fashion, art and art theory for its methodology, followed by a brief examination of a case of the Vivienne Westwood exhibition at the Victoria and Albert Museum in terms of an empirical account.

포스트모던 사회의 패션에 표현된 옵아트

이민선(Min Sun Lee) 한국복식학회 2004 服飾 Vol.54 No.5

Op-Art was not appreciated by painters and art critics, and accordingly has been forgotten in art history. But recently Op-Art is revitalized in fashion and is in its palmy days. This study intends to re-assess the value of Op-Art, by reviewing its influence on fashion design in the post-modern society. To this purpose, conceptual characteristics of Op-Art was analyzed. And then, on the bases of these characteristics, the figural characteristics and the meaning of Op-Art in fashion design of post-modern society was re-explained. Op-Art is characterized as an art of flatness of picture plane which uses repetition of simple forms and colors. It is also based on trick of visual perception. Finally, it creates an impression which is flickering or vibrating by means of optical illusion. These characteristics give birth to some features such as simplicity, anonymity and mobility in the Op-Art fashion, The meanings of Op-Art in fashion design in post-modern society are as follows. First, repetition of simple units employed in Op-Art produces feeling of simplicity, which makes the Op-Art fashion works perceived as polysemy. In other words, the feeling of simplicity can be interpreted in diverse perspectives within the social context of our society. The material civilization and technology civilization, which causes the alienation and standardization of man, can be the backgrounds of the Op-Art fashion. Second. Op-Art is an art based on perspectives of spectators. Anonymity in the Op-Art fashion enhances participation of spectators, which gives Op-Art a sense of affinity. Third, through the feeling of mobility created by optical illusion techniques, the Op-Art fashion expresses the opposition to the ideal body image made by power group. In post-modern society. Op-Art in fashion gives new meaning to art. Op-Art in fashion proposes new roles of artist and spectators, and new concepts of art related with roles of human beings. Through general sensibility of men, Op-art in fashion can express new recognition of the post-modem society.

공동체를 위한 예술과 공공미술

강수미(Kang Su-Mi) 현대미술학회 2008 현대미술학 논문집 Vol.12 No.-

What does it mean to speak of public art? To what extent does it make sense to speak of a 'publicity' in art world? The challenges and contradictions of public art in contemporary culture situation have never been greater. For the fields of art and culture global capitalism more and more demands becoming industrialize and commercialize, public art also confronts same situation. In this moments, I will argue about public art's identity and social function. In western culture, since the end of the 19th century, traditional monuments began to lose their visual-symbolic effectiveness. Then artists have invented new ways of creating effective participations or interventions in public space while also attempting to address a wide array of public audience. For example, S. Lacy who suggested the concept of 'New Genre Public art' in Mapping the Terrain: New Genre Public Art(1995) encouraged more contemporary artists to work their creation or activity for social community. The first section of this essay will be considered to the problem of defining a public art in relation to community that are, by their nature, "exposed"―inhabiting spaces that are deemed public or common. Especially I will discuss the possibility of art for community's sake beyond 'art for art's sake', by making reference to the Walter Benjamin's late art theory that he examined the new identity and function of modern art under the social condition of modern era. The second section might be the crucial part of this essay. Because my debate as a kind of case study on the success or failure of some artists's art works or activities in the public sphere. First, I will investigate the matter of process that art works gain in the popularity and publicity, by discussing between the A. Warhol's 〈Disaster painting〉 and F. Gonzalez-Torres's 〈Untitled〉 installation series. Second, my argument is deal with the problem of artistic methodology that public art works can be functioning as the productive medium for the collective memory and experience. In this part, I will focus on two well-documented examples of public art: M. Lin's 〈Vietnam Veterans Memorial〉 and A. Gormley's 〈Angel of the North〉. Both examples proved exceptionally controversial, and the nature of these controversies will serve to illuminate a number of the main issues raised in this essay.

질적 연구에서 자기 성찰의 의미와 방법 - 미술교육 연구방법론적 탐구 -

김선아 한국조형교육학회 2009 造形敎育 Vol.0 No.33

Recently the nature and contents of art education have been rapidly expanded. Along with the change of visual culture environments, there has been an effort to re-construct the meaning of 'art' as a subject. In addition, the government has established and implemented various culture and arts education policies so as to provide the equal chance for all citizens to learn and appreciate art. In order to improve art education using these increasing social demand and attention as a positive impetus, there should be more vigorous and systematic art educational research. In other words, we need the researchers and research methods that can recognize the contextual meanings of art and that can draw the knowledge and understanding of aesthetic experiences of those who have different social and cultural backgrounds. In art educational research, the academic attitude that encompasses only scientific and mathematic methods as valid research has placed the hinderance that has led art educational researchers to quantify something that cannot be measured. However, qualitative research methods have been introduced and experimented augmenting the range of research methods for drawing the contextual understandings and meanings of art education. Although the term ‘qualitative research' has become widespread, it is not easy to find a comprehensive qualitative research at this point. This study purports to discuss the nature and characteristics of qualitative research from the methodological perspective. Paying attention to the importance of the researcher in the whole process of research, this article explores the meaning of self-reflection of a qualitative researcher based on the theoretical background and cases. In order to illustrate this methodological discourse, the methods and cases of self-reflection are presented. This study aims at providing a guideline with which a researcher can develop the ability to reflect upon field experiences and to execute a qualitative research with scrutiny.

What Are We Teaching When We Teach Art?

Nicholas Houghton 한국국제미술교육학회 2017 미술과 교육 Vol.18 No.2

This paper presents a historical account of the art curriculum, in order to understand what is being taught in art today. It explains how present-day conceptions of art owe much to Romanticism and the social order which emerged in Europe under the influence of the Enlightenment. These conceptions have been tempered and disrupted by a hundred years of modernism, following from the 1960s by contemporary art. The art curriculum owed much to a combination of apprenticeships to teach skills and art academies to teach drawing and aesthetics. Only in the twentieth century did modern art exert an influence and when it did it was in the form of self-expression and formalism. Both of these have been challenged by contemporary art, which embraces mechanised means of producing art, places the emphasis on ideas, theories and contextual knowledge while subverting some traditional hierarchies. Contemporary art influenced significant art education movements, such as discipline-based and issues-based, learning about visual culture, as well as the use of mechanical means of making art, such as lens-based media. The core of art education is now the ability to explain, contextualise and even theorise. This should abet but not eclipse some of the things art can be, such as thought provoking, entertaining and moving.

Explaining the Narrativity in Art Design from the Aspects of Aesthetic Elements and Features

Lyu, Xin(류신),Liu, Jue(유각) 한국디자인문화학회 2021 한국디자인문화학회지 Vol.27 No.2

본 논문은 서사학 이론을 바탕으로 기호학 원리를 통해 아트 디자인 영역의 서사적 심미를 분석해서 미의식의 기본 서사적 요소와 특징을 정리하고 분류한다. 서사문학과 아트 디자인의 차이점에서 출발하여, 아트 디자인의 서사 프로세스와 특성을 분석하고 아트 디자인의 표현 로직을 연구한다. 연구 목적은 아트디자인의 심미 요소와 로직 관계를 명확히 하고, 아트디자인의 서사적 특징을 명확히 하려 한다. 이렇게 하면 서사 방법을 디자인에 더 잘 융합 시킬 수 있고 서사 형식을 예술에 더 잘 봉사 할 수 있도록 하는 것이다. 연구 의미는 아트 디자인의 서사적 심미를 더 명확히 해독하고 서사미학의 로직을 더 구조적으로 해석한다. 본 논문의 연구 방법은 이론적 추리 방법과 논리적 분석 방법이다. 구체적으로는 로직 언어 구조를 이용해서 문학과 예술의 서사 로직을 분석하여, 스토리 표현에 나타난 서사적 차이를 결합하고 서사미학 기본특징을 해독한다. 형식 언어의 방식을 통해 서사적 심미의 기초 로직을 추리해서 서사적 심미의 시각 미감요소와 문화 인지 요소를 설명한다. 그 다음에 심미적 요소의 관계와 연결을 통해 서사적 심미의 기호화 서사 특징과 로직 서사 특징을 정리한다. 연구 범위는 아트 디자인 분야에서의 서사적 심미이다. 즉, 아트디자인 분야에서 로직 언어를 매개로 하는 서사적 심미 인지와 로직 표현이다. 연구 내용은 서사 개념에서 서사 분석까지의 과정이다. 문학의 서사에서 예술의 서사까지 각 서사 생각과 서사 표현의 구조, 그리고 미감의 구조를 분석한다. 본 논문은 언어의 기호 특성을 통해 디자인 상징적 기호를 추출하고 정신과 물질 측면에서 서사 표현의 로직 관계와 서사의 미학적 특성을 분석한다. 따라서 시각 요소와 인지 요소를 분류하고 아트 디자인의 미감과 인지 로직의 가치 표현 경로, 그리고 아트 디자인의 서사적 심미와 표현의 로직 구조를 추론하여, 마지막으로 서사적 심미의 기호와 로직 특징을 정리한다. 본 논문의 연구 결과는 아트 디자인의 서사성을 형상적인 시각 요소와 상징적인 인지 요소로 귀납할 수 있다는 것이고, 언어 기호화된 서사적 특징과 인지로직화된 서사적 특징으로 총결하였다. Based on the theory of narratology, this paper analyzes the narrative aesthetics of art design through the semiotics principle and summarizes and sorts out the basic elements and characteristics of narrative aesthetics. And from the difference between narrative literature and art design, this paper analyzes the narrative process and characteristics of the art design and summarizes the expression logic of art design. The purpose of this study is to clarify the aesthetic elements and logical relationship of the art design and the narrative characteristics in art design, make the narrative method better integrate into the design, and make the narrative form better serve the art. The significance of this study is to interpret the narrative aesthetics of art design more clearly and to explain the logic of narrative aesthetics more structurally. The research methods of this paper are the theoretical reasoning method and logical analysis method. Specifically, the research method mainly uses the logic language structure to analyze the narrative logic of literature and art and summarizes their narrative characteristics combined with the narrative differences in the story expression. The logical basis of narrative aesthetics is deduced by formal semantics, and then the visual aesthetic elements and cultural cognitive elements of narrative aesthetic feeling are summarized. Then, through the relationship and connection of aesthetic elements, the symbolic narrative characteristics and logical narrative characteristics of narrative aesthetics are summarized. The research scope is narrative aesthetics in the field of the art design. That is to say, in the field of the art design, the narrative aesthetic cognition and thinking performance with logic language as the medium. The research content is from the narrative concept to the narrative analysis process. From the narrative of literature to narrative design. The structure of each narrative thinking and narrative expression, and the relationship between them and aesthetic feeling are analyzed. This paper analyzes the logical relationship between narrative expression and narrative aesthetic characteristics from spiritual and material levels through symbolic extraction of design symbols. Then, the visual and cognitive elements are classified, and the value expression path of aesthetics and cognitive logic in art design is derived, and the logic framework of narrative aesthetics and expression in art design is deduced. This paper summarizes the symbolic and logical characteristics of narrative aesthetics. The research result of this paper is to summarize the narrativity of art design into visual elements of image and cognitive elements of symbolism, as well as narrative features of language symbolization and narrative features of cognitive logic.

절대자를 만나는 예배로서의 미술 : 신학적 미학을 통한 오의석 작가의 스토리텔링

이소명 ( Somyeong Lee ) 기독교학문연구회 2018 신앙과 학문 Vol.23 No.2

This dissertation elevates creative art activities of a Christian artist, which is expressed in the form of a profession of faith to God, into ‘Art Worship’ or ‘Art as a worship to God’. This attempt may provoke many theological controversies, but for Christian artist, this attempt is to expand diverse ways to worship God by systematizing Art Worship. Christian art is the response of an artist to the calling of the absolute being. In this aspect, Art Worship involves three aspects. Firstly, it is based on the understanding of theological aesthetics and aesthetic theology. Theological aesthetics opens the new possibilities for Christianity belief system to the point where imagination, beauty, and aesthetics elements can work as a passage to a revelation of God. Secondly, Art Worship is integrated with truth, goodness and beauty, which are ontological attributes of the absolute being. Art Worship leads the truth to beauty in art and to goodness as a daily worship in real life. These ontological characteristics of the absolute being have their own inherent characteristics and intermingle to each other, creating another diverse and unpredictable aspect. Lastly, Art Worship creates another new Art Worship that artist, their artworks and viewers involve in the process of its re-figuration. Therefore, this study investigates communicational perspective that asserts Art worship, in which artist’s life and faith is confessed through works of art, is completed in the process of interacting with the audience. In other words, the audience discovers the features of the absolute being expressed by the artist and experience the presence of God. In this process, another Art Worship is re-figured through integration of artists, artworks and the audience. An artist does not express or portray an absolute being itself through Art worship or works of art. It is rather more about extending characteristics of an absolute being to the realm of truth, goodness and beauty, and more about integrated approach with the imagination of the audience. Based on these perspectives stated above, this study thoroughly investigates a case of Oh Ui-Seok. He is an artist who presents the world of artwork with Logos-ism in which the Logos is embodied with the image. His Logos-ism art goes beyond simply converting the Logos into the images, and shows ‘Aesthetics of Embodiment’ by creating artwork based on Logos with the Christian view of the world. In his artworks, an act of art and aesthetic expressions that appear in recognition of the truth lead to holy worship, and in combination with the aesthetic imagination of the viewer, Art Worship is created as a re-figuration process. In conclusion, Art Worship that this study attempts is holy rituals that identify the ontological characteristics of the absolute being and experience the presence of god through worship performed in creative activities of artists. Therefore, Art Worship holds its significance in that it extends the meaning and role of Christian art to a new prospect beyond instrumental use in religion.

태권도 美와 예술의 美에 관해

송일훈(Song Il-Hun),김창우(Kim Chang-Wo),이재학(Lee Jae-Hak),조충현(Jo Chong-Hyun),이동헌(Lee Dong-Heon) 한국체육과학회 2008 한국체육과학회지 Vol.17 No.3

Art is the direct expression which contains human nature, whereas a science is the preparation for deviating deliberately from human nature. On the basis of this logic, Taekwondo is referred to as the composite art of martial arts. Then, according to the detailed investigation, analysis, and discussion of this study, this study could confirm the following implications. That is, the beauty is aloof from the fictitious world which is not related to life, and is not an absolute being. Because the beauty is always related to life, such beauty can be formed. In other words, from the standpoint of art for art's sake, the beauty is weak. That is, as this study mentioned earlier, Taekwondo, as the aesthetics of martial arts, is an excellent movement art. However, Taekwondo, as the aesthetics of martial arts, should be mentioned in category of value, and so is never the problem of truth. Therefore, Taekwondo can be recognized aesthetically from the viewpoint of value theory. Considering the beauty of Taekwondo is not that real beings exist through the physical acts of Taekwondo and so the feature, the beauty of physical acts, is extracted, and then movements are analyzed. As the beauty was mentioned not to be only an objective attribute but to be generated in subjectivity, the beauty is formed by the attitude of subjects in the physical acts of Taekwondo. Therefore, we are not to carve the thought of human problem as subjects. As this study implied to a certain extent with the term of personality beauty up to now, the beauty should be accepted as a value, that is, the aesthetic value. As we examined roughly up to now the history on the classification of arts which ranged from ancient Greece through the Middle Ages, the Renaissance, and the Age of Enlightenment to today, antient times did not considered the possibility that pure arts could form their independent artistry. In such antient times, the art, which is recognized today, were only a part of techne (practice). Such thinking was transmitted to the Middle Ages and the Renaissance as it was. Especially, even though the philosophers of the Renaissance had their own understanding of pure arts, they drew no conclusion in the end. However, the pure art, which had declined during the times of 2000 years, came to reach today by Charles Batteux's effort in mid-eighteenth century. Thus, if Taekwondo is defined as the artistry of martial arts, first, such artistry of martial arts is the accuracy which Taekwondo, as martial arts, has. Second, such artistry of martial arts is the artistry which the beauty has. Third, such artistry of martial arts is Taekwondo as the beauty of artistry and arts. Therefore, such beauty should be recognized as the value of one. Further, Taekwondo as martial arts will be able to be spread widely as the worldwide artistic physical acts.

대학의 예술 교양교육 - <예술의 이해와 탐구> 교과목을 중심으로 -

조수정 한국문화융합학회 2019 문화와 융합 Vol.41 No.6

The Korea National Institute for General Education classifies general education art courses in university as humanities, while, at the same time, they are considered emotional experiential education. Art creation, experience, appreciation, and criticism are inseparable from the theoretical contents of art; therefore, such a dual classification system in art education is never suitable. Still, many believe that the practical programs associated with general education art courses are lacking in academics or that their educational goals are blurred. This study discusses what arts education is suitable in terms of general education. First, based on operational examples from the Understanding and Inquiry of Arts curriculum established at Daegu Catholic University, we will clarify how various activities and individual practice are connected with creativity education. In addition, we will consider how a practical curriculum can become academic and also achieve the purpose of the liberal arts curriculum, which targets overall development. In doing so, this study highlights the role and position of art courses in general university education and reaffirms their importance for the cultivation of talent that can change society. This study presents practical art education measures, especially those related to the development of creativity, focusing on the topic of Understanding and Inquiry of Arts. The act of creating something is the most fundamental manifestation of creativity, since the work of art is closely related to creativity education.