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RISS 인기검색어
- 검색키워드
- 저자 : 정경연 ( Kyung Yeun Chung ) (검색결과 6 건)
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정경연(Chung, Kyung-Yeun),김혜란(Kim, Hye-Ran) 한국조형디자인학회 2007 조형디자인연구 Vol.10 No.1
This study examined the traditional esthetic qualities of felt as materials for modern plastic art as well as its artistic possibilities. First, I looked into the history of felt through cultural investigation of human beings and felt. By doing so, I intended to shed light on sentimental values of felt for human beings in the cultural relationship between people and felt. For this, historical evidence on ancient felt was collected and compiled. Besides, the development and values of felt in terms of history and cultural anthropology are also included in the basic research backgrounds with reference to various books on the history of textile published home and abroad. Next, I investigated how felt has been used in modern art since it went through different production procedures than traditional woven fabric. In particular, this study explored the properties that modern artists have focused on. In analyzing the matter of felt in modern art work, its characteristics are classified into three: First, Joseph Beuys’s work is chosen for its primitive symbolism of felt. Through his work the meaning of ‘protection’ and ‘disruption’ were analyzed. Second, Joan Livingstone was selected as an artist who compared the intrinsic properties of felt to the characteristics of a human body. It was analyzed how the objectification process of identification through a human body in her work and the relationship between individual and society are expressed through felt. I centered on how the intrinsic sentimental, functional and aesthetic qualities of felt are interpreted in relation to the subject matter of an artist. Based on the findings, I examined a possible expansion of aesthetic expression in plastic art based on the art works made of non-woven fabric materials.
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정경연(Chung, kyung-yeun),김혜란(Kim, hye-ran) 한국조형디자인학회 2006 조형디자인연구 Vol.9 No.2
The study examines what needlework represents and symbolizes as a non-artistic technique in the contemporary art. Firstly, the study explores work of Louise Bourgeois (1911~). Since the 1930s, she has produced artwork in various genres including painting, printing, sculpture, installation work and textile sculpture, all with consistent theme of creation. When an artist shows distinct changes in using materials and methods who had worked with the same theme for a long time, we can interpret it as a new attempt or change in the artist's philosophy. It deserves our attention to see how Bourgeois used to mainly produce large-scale installation work made of bronze mold and marble pieces, but began to produce a series of textile sculpture figures since the mid-1990s, made of old fabric and clothes, which she employed only as part of objets in the installation work before. The study analyzes symbolic meaning of severed body parts and needlework in Bourgeois's work, examines its relation with the tradition of expressing severed body parts that has been present in modern and contemporary Western art to clarify the context of Bourgeois's work.
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정경연,박성준 홍익대학교 산업디자인 연구소 2003 미술디자인 논문집 Vol.- No.8
So far, numerous attempts have been made to commercialize Korea's representative cultures in terms of contemporaneity, but only few of them have been upheld and developed with continuity. The purpose of this study is focused on making neckties, scarves, and purses with applications of weaving machine, our world-famous cultural inheritance, and developing them as general tourist goods. Now, there are many local communities who plan and hold cultural events and festivals featuring their native traditions. In addition, the development of a variety of cultural items is attempted in many-sided ways. Especially, cultural goods made using textile materials can provide more business opportunities for development and marketing, because they are more readily accessible to consumers in actual life. The recent development of digital technology has made it possible to produce various goods in small quantity by realizing the regular use of the digital textile print (DTP) system that allows fabrics to be printed on the spot. Such technological development provides great advantages of shortening the sampling and main processes, identifying consumers' preferences readily, and ultimately controlling the production volume. Therefore, these advantages can lead to higher strength in producing cultural goods that have been under a poor or no distribution system. Likewise, this study produced a small quantity of prototypes using the digital print in a way to examine consumers' preferences, which were difficult to predict through paper design or on the computer screen. As a result, the process of mass production could be handled more carefully after the processes of correcting and making up for the discovered facts. For some items, the weaving technique had to be applied due to those product features and design differences that could not be expressed by the print technique. However, the weaving method has a disadvantage of increasing the unit cost of production, because, although it may give a high-class image to products, it takes a long time to produce prototypes and work on corrections and it is impossible to produce in small quantities. In Korea, local communities (governments) offer various cultural events and functions in a way to promote national competitiveness, also expecting their incidental synergy effects. Those cultural events will serve to attract more tourists, and the development of cultural tourist goods will not only increase the income from tourism, but lead to the qualitative enhancement of cultural events. In conclusion, we will have to continue to concentrate on developing more advanced cultural goods as well as traditional cultural handicrafts.
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