In determining artwork prices, the identification of characteristics of the artist is crucial. While the impact of demographic profiles of artists has been examined in the literature on art pricing, the relationships among artists have been highly disregarded. In the current research, the authors focus on the measures of network centrality derived from group exhibitions in order to investigate their influence on artwork prices. The analysis results suggest that degree centrality and closeness centrality positively affect artwork prices, whereas betweenness centrality has an adverse effect. Moreover, network centrality values play a more important role in explaining artwork prices than historical reputation indexes such as gender, nationality, time elapsed after death, and main residencies of the artists. This study contributes to branding literature, while also providing art marketers with valuable insight into artist branding.

본 연구는 서구에서 기원한 종교적 도상인 ‘피에타’의 한국 작가들의 표현성에 주목하고 그 상징과 의미 작용을 고찰하는데 목적이 있다. 자식을 잃은 어머니의 슬픔을 인간의 가장 극심한 고통이라고 보았을 때 종교를 초월하여 죽은 아들 예수의 시신을 안고 있는 어머니 마리아의 모 습을 표현한 피에타는 고난의 상징으로 보편적 공감의 대상이 된다. 이는 종교적 도상으로서의 차용뿐 아니라 전쟁이나 테러, 재앙과도 같은 사건에서 발생할 수 있는 인간의 고난에 대한 시대 적 상징성을 제시하는 좋은 지표가 될 수 있다. 따라서 가톨릭 교회 미술에서 주로 다루던 피에타 가 현대 미술 안에서 고난의 상징적 표상을 넘어 위로와 공감의 아이콘이 될 수 있으며 또 다른 작 가성이 드러나는 피에타상의 후속 연구에 단초가 되는데 의의가 있다.

이 논문은 베트남전쟁기 게릴라 화가들의 활동을 추적하기 위해 먼저 베트남 근대미술 의 형성과 베트남전쟁기 저항미술이 나타난 경위를 고찰한다. 전쟁에서 경험할 수 있는 폭력적인 참상에도 불구하고 게릴라 화가들은 적에 대한 적개심보다 근거지에서의 평범 한 일상을 표현하는데 주력했다. 게릴라이자 화가였으므로 옻칠회화나 유화보다 연필이 나 펜으로 그린 스케치와 수채화가 대부분을 차지하고 있기 때문에 이 드로잉들은 거의 일기와도 같은 것이었다. 전쟁의 현실을 직접적으로 그려낸 이 드로잉을 통해 게릴라화 가들이 파악하던 베트남전쟁의 성격을 이해하는 데는 소중한 참고가 될 것이다. 또한 자신들이 겪고 있는 현실을 미화하거나 과장하지 않고 표현했다는 점도 중요하다. 이 논문의 의의는 베트남 근대미술과 저항미술의 형성과정을 고찰하고 이를 바탕으로 한국 에는 잘 알려지지 않은 베트남전쟁기 게릴라 화가들의 활동과 작품을 고찰한 것에서 찾 을 수 있을 것이다.

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

This study explores gender images represented in the works of women artists from the Middle East, where male chauvinism is recognized to be more predominant than elsewhere. The artists included in this study such as Mona Hatoum, Shirin Neshat, Lida Abdul and Sigalit Landau are Post-Feminist generation of artists who were born in the Middle East but spent significant amount of time in the West. In addition, they were trained as artists under the influences of the Western Feminist Art. This particular group of female artists pays much attention to the ontological question of their identities rather than male/female inequality, and each artist represents men and women in the ways that can hardly be found in the works by women artists in the West. These artists not only connect gender identities to the socio-political geography of the Middle East but also deconstruct Western stereotypes of men and women from Arab world. The paper focuses on the way these women artists incorporate male/female vs. culture/nature dichotomies into their works to subvert the premises on which Western Feminism has been based and not only to cast light on women's freedom and their ontological conflicts but also to emphasize social suppression inflicted upon men. In such process, these artists resist stereotypical images of Middle Eastern men and women widely circulated in the mainstream media of the West.

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People’s Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of ‘Korean’we usually consider ambiguous, and prompts careful attention to the silence of ‘some Koreans’forced to live against their will in the blurred boundaries between nation and people. This dissertation regards ‘Koreans’who came to live in the border of nations, especially ‘Korean-Japanese third generation women artists’ who are marginalized both Japan and Korea. It questions the category of ‘Korean women’s art’that has so far been considered, based on the concept of territory, and presents a new perspective for viewing ‘Korean women’s art’. Almost no study on Korean-Japanese women’s art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of ‘Korean women’and ‘Korean women’s art’ considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority’s diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist’s cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual’s historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with post-colonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women’s art.

This paper examines the recent exhibitions that reflect feminist global issues initiated and discussed by feminist artists, critics and curators in the U.S. and Korea. While the feminist exhibitions such as <Global Feminisms> and <WACK!> maintain strong western feminist legacies by accepting women artists from other cultures who learn the western feminist idioms, Korean feminist exhibitions attempt to expand its discourse to the feminist artists in the neighboring countries in Asia while respecting Korean traditions and positions. In this new terrain, the emergence of Incheon Women Artists’ Biennale further complicates the meaning of feminist-initiated exhibitions. The biennale, initiated by local women artists untrained by feminism, gradually grows into a large-scale global event and challenges the current status quo of Korean artists who have been divided into feminists and non-feminists, regional artists and global artists, progressives and conservatives, and etc.

인간의 생활환경에서 안정된 주거환경이 주는 영향은 매우 크다. 이는 예술인들의 창작활동에 있어서도 마찬가지다. 안정된 창작 공간은 질 좋은 작품을 탄생시키는 모태가 되기도 하고 예술인들의 창작 의욕을 고취시키기도 한다. 이런 안정된 창작 공간이 형성된 지역에는 자연스럽게 예술인들이 모여들게 되고 독특한 개성이 표현되는 새로운 스타일의 장소가 되기도 한다. 하지만 역설적이게도 개성있는 예술인들이 모인 특정 지역이 유명세를 타면서 오히려 땅값과 임대료가 상승하여 그들이 원래 있던 공간에서 밀려나 더 싸고 외진 곳으로 이주하는 현상이 나타나게 되는데 이 현상이 젠트리피케이션이다. 본 연구에서는 첫째, 젠트리피케이션의 발생 원인과 유형을 선행연구로 알아보고 둘째, 젠트리피케이션 진행과정에 따른 사회적 현상을 통계지표를 통해 분석하였으며 셋째, 젠트리피케이션이 예술인들의 창착활동에 미치는 영향과 실태를 파악 하고 넷째, 국내 · 외 젠트리피케이션의 다양한 사례들과 극복사례들을 조사하여 최종적으로 젠트리피케이션의 부정적 요인을 극복하는 상생방안을 위주로 대안을 제시하고자 했다. 대안제시에는 지자체의 임대료 안정 정책과 상생협약, 공공주택의 보급이 있으며 예술인들은 공공 프로젝트 참여로 지역사회에 기여하고 지역예술협동조합과 같은 예술인 단체 결성을 통해 권익과 봉사를 동시에 추구하는 방안을 제시하였다.

With the continuous development of scientific algorithms for computer graphics, the new generation of procedural texture technology greatly accelerates the CG visual art creation and gradually replaces the bitmap texture workflow. The technology has not only realized the further integration of computer graphics technology and art creation, but also put forward new requirements for texture artist's knowledge structure. Meanwhile, the new workflow reduces the requirements for traditional painting skills and focuses more on logical thinking and basic programming skills. In the future, texture artists have to pay attention not only to the aesthetic and accomplishment of art, but also to the logical application of scientific algorithms.