목차1. 디자인의 정의 2. 디자인의 종류 3. 디자인의 발전과 역사 4. 한국 디자인의 역사와 발전 5. 디자인의 목표 6. 우리사회 속 디자인의 중요성 7. 우리나라 디자인의 미래와 나아갈 길 본문내용15%로 구성하도록 장려하고 있다. 지난 세기에 이룩한 기술혁신은 세계를 하나의 공동체로 만들어 가고 있다. 서구에서 시작한 산업화는
이제 우리나라는 물론 중국, 동남아국가와 같은 제3세계나 공산주의 국가에 이르기까지 보편적인 생활양식을 보급해, 지역간의 문화적 차이를 줄여가고 있다. 청바지와 코카콜라, 컴퓨터는 세계화된 지 오래다. ... 저널정보
저자정보
이용수 내서재 5 내서재에 추가 초록·키워드오류제보하기 ‘생활미술운동’은 1980-90년대에 한국에서 전개되었던 민중미술운동의 한 흐름으로써 순수 예술이 아닌 공예나 디자인의 영역에서 일어났던 생활화 운동이다. 그러나 생활미술운동은 민중미술운동에 비해 지금까지 우리에게 잘 알려지지 않은 채 간과되었던 분야라할 수 있다. 본 논문은 생활미술운동을 공예와 디자인을 통해 사회의 변화를 이루고자 했던 활동으로 바라보고, 1980-90년대 한국 문화의 맥락 안에서 그 개념과 전개 과정, 특징 등을 살펴봄으로써 한국에서의 사회적 디자인 및 공예 운동의 작은 역사로 소개하려는데 목적이 있다. As one trend of the public art movement developed in the 1980s and 1990s in Korea, ‘Living Arts Movement’ was to practice art in everyday life in areas of craft or design, instead of fine arts. However, it has not been widely known compared to the public art movement. With the Living Arts Movement presented as an activity to achieve social change through craft and design, this article intends to introduce aspects of Korean craft and design by examining its concept,
development process, characteristics, etc. I, the researcher, first examine the concept of Living Arts Movement; divide the Living Arts Movement into three periods and then; research into its development process. In the first period (in the early to mid 1980s), promotional and advertising materials were produced which were with combative and incendiary functions of Minjung Art (art reform movement in 1980s by progressive artists) and works in that period were of mere icons or symbols appearing in Minjung Art. In the second period (from 1987 to early 1990s), Living Arts Movement sought more of popular distribution as political situations were settled for the time being after 1987 and activist group-centered demand came to decline. Artists involved in Living Arts Movement planned ‘Open Market Exhibition for Living Arts’ and through that event, they not only communed with the public but also provided a forum where craft and design artists could strength their footing. Living Arts Movement was at an ebb in the third period (after mid 1990s) and with the advent of ‘New Generation’ culture which represented the 1990s, interests in subordinate class-based culture diminished and; due to the closure of in 1995, Living Arts Movement lost its place for collective practice, which gradually led to individualization. In conclusion, Living Arts Movement was to recover meanings of tradition and people in the general public’s everyday lives and also to seek status of craft in lives and its significance lies in that it was a self-sustaining movement which pursued public craft against the tendency of one-piece craft which was sought by modern craft after the collapse of traditional craft. Living Arts Movement, however, failed to interpret current experiences actually existing in the changes of the time into the structure of life and it simply remained as a schematic, traditional formative language and due to that limitation, it came to go downhill. 목차 Abstract 참고문헌 (25)참고문헌 신청함께 읽어보면 좋을 논문논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
이 논문의 저자 정보안영주 소속기관 홍익대학교 주요연구분야 예술체육학 > 미술 예술체육학 > 디자인 논문수 7 이용수 1,868 이 논문과 함께 이용한 논문최근 본 자료전체보기댓글(0)0 UCI(KEPA) : I410-ECN-0101-2016-658-002250925 |