• Title, Summary, Keyword: Public Art

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Architectural Tendencies of Public Art Projects in Korea - Focused on Those in Which Korean Architects Participated in Group after 2000 - (국내 공공미술 사업의 건축적 경향 - 국내 건축가가 단체로 참여한 2000년 이후의 사업을 중심으로 -)

  • Park, Seul-Ki;Kim, Ransoo
    • Korean Institute of Interior Design Journal
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    • v.24 no.1
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    • pp.133-143
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    • 2015
  • This study tried to inquire architectural tendencies in public art projects by analyzing projects and public art works designed by Korean architects. First, it described not only the background and the objectives of this study but also the scope and the methods of it. Second, it gave an overview of public art by explaining the concept, the institutions, and the history of it in Korea. Third, it investigated the contents of public art projects in Korea, in which more than two architectural teams participated, analyzing the tendencies of public art works designed by architects. In order to find the architectural tendencies of public art projects, it analyzed the intentions, the contents and the expressions of architects' art works. In conclusion, this study regarded the architectural tendencies as site-specific, space-experiencing, sheltering, multi-purposeful, contextual, recycling, and eco-friendly.

The Origin and Formation of Korean Public Art Theories in the 1980s (1980년대 민중미술론의 기원과 형성)

  • Choi, Youl
    • The Journal of Art Theory & Practice
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    • no.7
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    • pp.37-64
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    • 2009
  • The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

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A Study on Improvement for Art-related Cultural Programs in Public Libraries (공공도서관 미술 관련 문화프로그램 개선에 관한 연구)

  • Yun, A-ran;Lee, Sang-yong
    • Journal of the Korean BIBLIA Society for library and Information Science
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    • v.26 no.3
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    • pp.177-206
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    • 2015
  • This study aims to improve art-related cultural programs led by public libraries. Thus, after conducting a literature review about art-related cultural programs of public libraries and investigating art-related cultural programs of foreign public library cases, this study carried out a survey on managers and users in art-related cultural programs of Korean public libraries. These results, based on which this study proposed guidance for operation improvement art-related cultural programs of Korean public libraries while dividing them into operation factors and content factors. It is expected that the result of this study will be used to plan and operate art-related cultural programs for public libraries in the future.

A study on the Interactive relationship between the public space and the public art - Focused on the Works of Daniel Buren - (현대 공공 공간과 공공미술의 상호 작용에 관한 연구 - 다니엘 뷰렌의 작품을 중심으로 -)

  • Kim, Hyun-Jung
    • Korean Institute of Interior Design Journal
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    • v.16 no.2
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    • pp.147-154
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    • 2007
  • This study places a great emphasis on the approaches to the space environment we inhabit, which I hope will contribute to generating a number of creative possibilities. Looking into 'site-specificity' which is characteristic by public art in public space method based on Daniel Buren's works 'in situ', this study analyze the relationship between the public space and works of art as a perspective of public art. The characteristics of his 'in situ' works that intervened works exist as space consisting of serial factors not simply art-object, and they suggest 'site Is a work'. The case study of Daniel Buren's public art project represented the results, the site marketing and serves as a guideline for the future of true Art/Space experiments. This study verifies the need for the arts and the space to work together in order to develop more creative and conceptual approaches to innovation and presentation. This cooperation is the continuation of space design by other means.

A Study on the Public's Perception on Accordance with Change of Exhibition Space in an Art museum (미술관 전시공간 형태의 변화에 따른 관람자의 작품 인지에 관한 연구)

  • Lee, Jung-A;Moon, Jung-Mook
    • Korean Institute of Interior Design Journal
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    • v.17 no.1
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    • pp.84-92
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    • 2008
  • In the Relationship between exhibition space and art work in museum, new paradigm has being presented from 1990' s as a turning point. Even if the formal exhibition space that emphasizes itself as a background has currently being continued, the informal exhibition space is coming to the new art museums, especially after 1990's. This study is to understand how the advent of informal form of space in an exhibition of art museum makes a new paradigm in the relation between the exhibition space and art work in conjunction with public's perception after 1990' s that is identified to the time of Pluralism. To do this, the study raised a question on how the public perceive the relation between space and art work through photographs that contain the information on relation between space and art work. And the questionnaire performed through the curators who are working for art museum, students who studies fine art, students who studies design and public who comes to art museum. After survey through this questionnaire, it is made clear that the informal form of space simply has played a role of background since the beginning of art museum. In other hands, the informal form of space that is mainly presented after 1990' s begins to interrupt the public's perception of art work, changing it's meaning through a spatiality.

Examination of Public Art Project from Viewpoint of Place Marketing -Focused on Cases of Busan Public Art Project- (장소마케팅 관점에서 공공미술 프로젝트에 대한 고찰 -부산 공공미술 프로젝트 사례를 중심으로-)

  • Kim, Hyun-Jeong
    • The Journal of the Korea Contents Association
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    • v.11 no.2
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    • pp.276-286
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    • 2011
  • Recently, many regional governments and national organizations have propelled public art projects as a part of city regeneration project for improvement of living environment and cultural welfare of neglected regions. It is necessary to think of meaning of the public art project in a context of city regeneration, not only in public art discourse. This paper starts from the question if recent public art projects performed in city of Busan during last 5 year was successful in terms of place marketing. This paper tried to revoke to consider public art project in terms of place marketing because it should be utilized ultimately to activate regional economy for the habitants. First, we reviewed theoretical background regarding definition of public art and place marketing, intended effects of public art project, and place marketing strategy. we elicited an analytical framework and analyzed representative 6 cases of recent public art projects performed in city of Busan in terms of requirements of public art project and viability of place marketing. Discussion of the analysis result suggested implications for the future public art project to direct.

New Museum for New Forms of Art - Focused on "Museum without Walls", and the relationship between art and architecture -

  • Song, Ha-Yub
    • Architectural research
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    • v.13 no.1
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    • pp.3-9
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    • 2011
  • To design and construct a museum of art involves the interest of artists, architects, curatorship, management, and local government. More than this direct relationship, museum obliges the public a mission of delivering genuine public experience through art and architecture. However, most of Modern and contemporary architecture has not delivered genuine public experience of integrated art and architecture. Conceptual message of art and perceptual architectural exhibition space has not been integrated easily. Picture frame canvas initiated this schism and institutionalized museum management hampered the creativity of artists. This schism was overcome through artists' questioning of museum culture and creative works that embrace work and its environment. In contemporary culture, installation art and media art necessitates a new museum format which needs not only exhibition, but laboratory and interface space with viewers. This paper will regroup the existing museum according to its use and strategy, and reinterpret progressive museums that fosters young artists, and more than this, will introduce successfully established museums for new forms of art, which are equipped with versatile exhibition spaces, innovative interface between works and viewers, and own laboratory that can produce works of art. These examples will envision a creative method of art and architecture production that can achieve genuine public experience.

A Study on the Characteristics and Identity of Public Art in Historical and Cultural Areas - Focused on Taoxichuan in Jingdezhen - (역사문화지구의 퍼블릭 아트에서 나타나는 표현 특성과 아이덴티티 연구 - 징더전 시 도계천을 중심으로 -)

  • Li, JianHua;Yoon, Ji-Young
    • The Journal of the Korea Contents Association
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    • v.20 no.2
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    • pp.82-95
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    • 2020
  • This study takes the identity and characteristics of public art in historical and cultural regions as the research object. Through the theoretical investigation and research on the public art of historical and cultural regions, six evaluation factors that shape spatial identity and characteristics were drawn: Environmental characteristics, public characteristics; Symbolic characteristics; Artistic characteristics;.Historical characteristics; Interactivity. The identity and characteristics of Taoxichuan public art in Jingdezhen was analyzed and evaluated. The results show that the " public art " of seven large chimneys is consistent with the historical structure of the industry. Among them, environmental, public characteristics, symbolic, artistic and historical characteristics of the Industria park have a high degree of preservation value and can be recognized as the historical landmark of the park. In the new public art, the artistic quality of public art, the environment, and the public characteristic of public art, are also at a moderate level, but it is comparatively weak. Public art recreated as an industrial heritage has formed an identity that can communicate spiritual sympathy to the public by forming a time-space communication between the public with historical relics and ceramic elements, and the new public art for local rehabilitation has given new artistic flavor to the city, but the new identity has not been shown.

New Trend on the Types of Public Art Projects Since 2000 in Korea (2000년대 이후 한국의 공공미술 프로젝트 유형)

  • Kim, Hae-Jin
    • The Journal of the Korea Contents Association
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    • v.10 no.8
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    • pp.198-208
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    • 2010
  • The object of this paper is to observe concepts and forms of public art projects that have been performed so far since 2000 by the domestic Non-Government Organizations (NGO) and the Government. For public art to improve social awareness of practical power to change human life and the environments of social, political, cultural and economic by providing a smooth communication flow to the community and help them reach a new level. Therefore, in this paper, we try to find out the status and diagnosis of domestic public art projects and make recommendations that public art should focus on community not itself for the future direction.

A Study of Ambient Art as Public Art (공공예술로서의 앰비언트 아트 연구)

  • Kim, You-Suk;Kim, Jae-Young;Kim, Seon-Ju;Sung, Jung-Hwan
    • 한국HCI학회:학술대회논문집
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    • pp.442-445
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    • 2008
  • 현대 도시의 새로운 이미지 창출을 위해서 공공예술은 중요한 요소이다 과거 조형적 작품으로 이루어지던 공공예술은 미디어아트, 인터렉티브 아트등 새로운 예술분야로의 접목이 늘어나는 경향이 나타난다. 그러나 인터렉티브 아트가 공공예술로 정착되기에는 가기고 있는 문제점이 있다. 이를 보완하기 위해서 본 논문에서는 엠비언트 아트(Ambient Art)를 활용하였다. 엠비언트 인텔리전스(Ambient Intelligence)에서 파생된 개념으로의 엠비언트 아트는 Ambient Display와 Ambient Media 등을 사용하여 사용자의 주의 없이도 환경정보를 활용하여 인터렉션을 일으켜 작품에 생명력을 부여하는 예술장르를 말한다. 기존 연구에 의하면, 엠비언트 아트는 상황인지, 개인화, 분위기, 상호작용, 자가성장의 5가지 특성을 지닌다. 그러나 엠비언트 아트가 공공예술로 사용되기 위해선 소통, 보안, 선택권의 3가지 요소가 필요하다. 공공공간이 지니고 있는 특성과 공공예술이 가지는 파급효과를 고려하면, 3가지 요소가 중요하다. 보다 높은 수준의 소통과 과도한 관객의 상황정보 수집으로부터의 보호, 관객의 작품 참여 선택권은 엠비언트 아트가 가져할 구성요소이다. 본 논문에서는 3가지 요소를 포함하는 새로운 장르의 공공예술(New Genre Public Art)의 공공 엠비언트 아트(Public Ambient Art)를 제시하여 대안을 마련하는데 의의가 있다.

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