The prefix 'bio' with the meaning of 'life,' has been used for biotechnology, biochemistry, bioengineering, biomedicine, bioethics, bio-information as well as 'bio art' since 1990s. Bio art is an art as life itself and a kind of new direction in contemporary art that manipulates the processes of life. Bio artists use the properties of life and materials as scientists in laboratory of biology, and change organisms within their own species, of invents life with new characteristics. Technologically and socio-culturally, bio art has been connected with bioengineering. This essay is on the bio art that use vegetables, and on the specified gaze of so-called 'Sci-Artists.' Not only the genetically modified vegetables like works of George Gessert, Ackroyd & Harvey, and Eduardo Kac, but also the works made from the critical viewpoint like those of Paul Vanouse, Natalie Jeremijenko, and Amy Youngs, have 'the molecular gaze'(Suzanne Anker and Dorothy Nelkin's concept) of the genetic age in their art works. As the art history have showed, artists' gazes have insights about social problems that surround us. Bioartists' gazes reveal their insights about social and ethical problems, possibly concealed by science itself. Those problems are about results from practical discoveries of the sequencing of the genome, genetic engineering, cloning and reproduction of human and animals, body transformation, and the commercialization of cell and genes etc. We can find the significance of bioart in the molecular gaze about those problems, and we can rethink the identity of human, the reception of social influences from bio-technology and medicine.

본 연구의 목적은 예비 사회적 기업으로 인증 받은 S무용단과 T무용단에 대한 체험적 사례를 통해 국내 무용단이 사회적 기업으로 나아가야 할 방향을 제시하는데 있다. 현재 무용예술분야 예비 사회적 기업은 S무용단과 T무용단, 두 단체만 있기 때문에 연구의 목적을 달성하기 위하여 이 두 단체를 대상으로 심층면담을 실시하였으며 그 결과는 다음과 같다. 본 연구에서는 무용예술분야 예비 사회적 기업을 통해 새롭게 설립될 무용예술분야 사회적 기업이 단순히 일시적 재정지원에 의존해서 연명하는 것이 아니라, 단체의 지속 가능한 재편을 위해 설립초기 단계부터 본격적인 경영지원이 이루어져야 할 것이다. 이는 정부가 단순히 인증 절차 등을 안내하는 수준의 컨설팅을 넘어 사회적 가치창출과 수익 창출이라는 두 가지 목표를 효율적으로 수행할 수 있도록 사업모델을 적절하게 설계·수립 및 재구성하여야 한다. 또한 심 화된 컨설팅을 제공함으로써 준비된 상태의 사회적 기업 인증을 통해 사업의 지속가능성을 높 여야 한다.

The study mainly discusses appreciation of interactive art works seen from the perspective of play attributes that make spectators glimpse the truth of things. The general studies of interactivity, as one of remarkable features in contemporary art, are regarding the relation between the effects of digital media and interactivity as well as video games. From the preceding discussion, I analyze the effects of the appreciating interactive art works which are focused on new sensory systems, the methods to intuit the essence of the art works. Based on the concept, as I investigate the play attributes found in the interactive art works, this study gives attention to the possibility that if the spectators can reach the inherent aspects of interactive art works, while interacting them. Thus to discuss the properties of the play, this article studies play concept of Johan Huizinga(1872-1945), psychologist and anthropologist and play theory of Hans Georg Gadamer(1900-2002) who considers play as a metaphor for art. As Huizinga thinks acting is the important attribute of play, Gadamer argues whenever the term 'play' is used, we should think about 'to-and tro movement' and the movement is absence of goal as well as endlessly renews through repetition. Then what we should pay attention to, seeing the essence of art and play as similar? That is, Gadamer claims, we can understand the truth of things through the play. To apply the play concept to the interactive art works, I research the works of Maurice Benayoun(1957 - ), French interactive artist. By employing interactivity, he attempts to extend and affect the experience of his art works to one of social phenomenon. Striving this, spectators can widen and deepen the breadth of their intuition and recognize the essence of art works. It is the interactive art works that can be the apex of the transformation of structure from the play to the art. The endless repetitive process of play, which is free creation-annihilation process, is similar with the interactive experience of spectators that is variable, de-centered, and multi-sensory. The pure action of the play lets us recognize, sense and accept the world and through the system of interactive art experience, we can expand the horizons of perception. Interactive art works with these play attributes are capable of playing the role that the spectators glimpse the truth of things and experience the world around them.

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

Shitao(:tJ11) suggested that the one stroke of painting is the beginning of the Universe. he claimed that the one is the foundation of all the images. It is based on the DaoJ! that is erupted myriad creatures. His theory of one stroke is showing the root of the world and mind of artists. His theory is a mind theory of mind as well. As a Korean painter, I would like to explain my painting by the Shitao's theory of one stroke. It is painted by natural color from pine tree to draw the pine tree. It is claimed that one stroke is displayed by the way of seamless from the material to art.

본 연구는 서울대학교 학부생들의 기초교양 교과목의 수강 경향을 분석하여 지난 수년간 기초교육 강화를 위한 노력이 학생들에게 어떻게 수용되고 어떤 교육적 성과를 거두었는가를 평가하고자 하였다. 분석 결과, 서울대학교 학부생들은 평균 8.49학기를 이수하였고, 대학에서 졸업요건으로 정해진 학점을 크게 벗어나지 않았지만 평균 전공 취득 학점은 2000년부터 점차 감소하는 경향을 보였다. 학과별로 전공 학점수를 더 많이 요구하는 경향을 보여서 대학이 전문 직업을 위한 고도의 지적, 직업적 훈련을 시켜야 한다는 목표와 근본적이고 기초적인 교육에 중점을 두어야 한다는 교육 목표 사이에는 적절한 균형이 필요한 것으로 판단된다. 또한 지난 5년 간 복수전공을 수강한 학생은 406명, 연합전공 31명으로 다양한 분야의 전공을 수강한 학생이 연평균 437명으로 나타났다. 이러한 추세는 학생의 사회적 관심 영역을 확장하고 교육적인 기초를 더욱 확고히 다지는 기회를 제공하였을 것이며, 다양한 학문적 경험을 통한 융합을 구현하는 것에 도움이 되었을 것으로 판단된다.

In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are post-medium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms—contemporaneity, post-medium, and postproduction—that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don’t disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at “the postproduction in the age of post-medium age after postmodernism,” I first explore Krauss’s notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss’s post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists’responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud’s text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

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 focuses on the social implication of new media art, which has evolved with the advance of technology. To understand the notion of human- computer interactivity in media art, it examines the meaning of “cybernetics” theory invented by Norbert Wiener just after WWII, who provided “control and communication” as central components of his theory of messages. It goes on to investigate the application of cybernetics theory onto art since the 1960s, to which Roy Ascott made a significant contribution by developing telematic art, utilizing the network of telecommunication. This paper underlines the significance of the relationship between human and machine, art and technology in transforming the work of art as a site of communication and experience. The interactivity in new media art transforms the viewer into the user of the work, who is now provided free will to make decisions on his or her action with the work. The artist is no longer a god-like figure who determines the meaning of the work, yet becomes another user of his or her own work, with which to interact. This paper believes that the interaction between man and machine, art and technology can lead to various ways of interaction between humans, thereby restoring a sense of community while liberating humans from conventional limitations on their creativity. This paper considers the development of new media art more than a mere invention of new aesthetic styles employing advanced technology. Rather, new media art provides a critical shift in subverting the modernist autonomy that advocates the medium specificity. New media art envisions a new art, which would embrace impurity into art, allowing the coexistence of autonomy and heteronomy, embracing a technological other, thereby expanding human relations. By enabling the birth of the user in experiencing the work, interactive new media art produces an open arena, in which the user can create the work while communicating with the work and other users. The user now has freedom to visit the work, to take a journey on his or her own, and to make decisions on what to choose and what to do with the work. This paper contends that there is a significant parallel between new media artists’ interest in creating new experiences of the art and Jacques Rancière’s concept of the aesthetic regime of art. In his argument for eliminating hierarchy in art and for embracing impurity, Rancière provides a vision for art, which is related to life and ultimately reshapes life. Rancière’s critique of both formalist modernism and Jean-François Lyotard’s postmodern view underlines the social implication of new media art practices, which seek to form “the common of a community.”

This study examines the work of Ed Ruscha (1937-present) and his relationship with the Ferus Gallery that vigorously promoted pop art in the western parts of the US throughout the 1960s and 1970s. Ruscha is a conceptual artist and recognized as an iconic figure in the history of LA pop art. His earlier works formed an organic relationship with the southern Californian area. He chose objects from the elements of pop culture, and worked on a wide array of media including painting, photography, artist books and film. By the 1960s, Ruscha has acquired a status as a significant, influential figure as a pop artist, photographer and conceptual artist. In the 1970s, he exhibited his works at the Leo Castelli Gallery in New York, expanding his influence to the east coast. But it was not until 2004 that his retrospective was held at the New York Whitney Museum. Before that, he was mostly known as an artist based in LA both geographically and in terms of his work. Indeed his better known work was created in LA, especially in the early days. Raised in Oklahoma, Ruscha moved to LA in 1956 to attend an art college at age 19. Seven years later, he had his first solo exhibition at the Ferus Gallery. Familiar with pop art elements of Hollywood, beach scenes, palm trees, film and automobiles, artists from LA established their own identity and art world, set apart from east coast-based artists. In particular, artists that worked with the Ferus Gallery were often associated with masculine images, and they adopted this as their persona. The group of them came to be called the Studs. Meanwhile, Ruscha took a slightly different approach. While blending in with other members of the Studs, he expanded or even overcome the macho image through humor and irony. Alexandra Schwartz did extensive in-depth research on Ed Ruscha, and noted that Ruscha could be understood as a mediating figure of the Ferus Gallery, as he was accepted in both the west and the east coast. Schwartz argued that although Ruscha widely used images of the west, he could take a more neutral perspective than other LA-based artists at the time. To him, LA was home and workplace, but Ruscha refused to play along with the cliché of the macho images. As a representative artist of the Ferus Gallery, Ruscha twisted the meaning of the Ferus Studs, intentionally and strategically, and expressed them in his work. With Jerry McMillan, Ruscha actively engaged in opinion-exchanges and image-creating. He augmented the significance of the Studs, which evolved to be a part of various public images that Ruscha experimented with. Ruscha added a new facet of artistic persona to the Studs. The masculine and aggressive images of the Studs members were reproduced in many photos. While connecting to them for solidarity, Ruscha humorously twisted the images, and moved away from the stereotype. Ruscha was a leading artist for the gallery, and widely experimented with the images of the Studs in his work.

이 논문은 남북조시대 사람들이 당시의 불상을 바라보던 시각에 관하여 고찰한 것이다. 인도에서는 사원의 중심이 스투파였다. 문헌에 의하면 붓다의 열반 후 스투파는 8기가 건립되었지만, 아쇼카 왕이 이 중의 7기를 해체하여인도전역에8만4천기의 불탑을 세웠다고하였다. 이것은 인도 전역의 거의 모든 불탑은 사실상 아쇼카 왕 시절에 만들어졌고 그 안에는 진신사리가 봉안되었다는 것을 의미하는 것이다. 그러나 중국에서는 남북조시대에 사원을 건립하면서 불사리가 필요했지만, 역사적으로 이를입수하기란거의불가능에가까운일이었을것이다. 때문에 集神州 三寶感通錄에 기록된 바와 같이 아쇼카 왕이 8만4천탑을 세울 때 그 일 부가중국에세워졌고, 그때의사리가발견되어 중국의 초기불탑들에 봉안된 것이라는 설화가 만들어졌던 것이다. 그러나 이러한 설화만으로는 더 많은 불사를 건립하는데 있어한계에부딪쳤을 것이다. 이러한 상황에서 해결책은 사리를 대체할 수 있는 물건으로도 탑을 세울 수 있다는 개념이었는데, 그러한 아이디어는 석가성도지인 보드가야의 중층누각형식의 마하보디 사당에서 비롯되었던 것으로 보인다. 마하보디 사당은 사리가 아닌 석가성도상을 봉안한 건축물이었는데, 당시 보드가야를 방문한 중국의 구법승들은 여기서 아이디어를 얻어 특히 현장과 같은 승려는 장안 慈恩寺大雁塔을 세울 때 이 마하보디 사당을 염두에 두었을 가능성이 크다고 생각된다. 그러나 한편으로는 탑 대신에 전혀 다른, 보다 쉬우면서도 직접적으로 숭배의 대상이 될 수 있는 새로운 아이템을 개발하였는데, 그것이 바로 불상이었다. 인도에서도 불상이 있었지만, 이는 주로 탑을 장엄하는 용도였으며 혹, 사리를 봉안한 불상이 불탑만큼 존숭을 받기는 했지만, 그것은 그 안의 사리 때문이었지, 상 자체의 영험함 때문은 아니었다. 그러나 이러한 불상들 역시 불사리처럼 진정성을 획득할 필요가 있었기 때문에, 아쇼카 왕의 조탑 설화와 마찬가지로 아쇼카 왕 조상 설화가 중국에서 만들어졌으며, 소위 아쇼카 왕상이라고 하는것은 오래 전에 중국에 전래되어 묻혀 있다가 새롭게 발굴되어 남북조 시대 사람들 앞에 다시 현현한 것으로 서당시 사람들에게 믿어졌던 것이다. 또한 이러한 상들은 다양한 기적을 일으켰으며, 만약 똑같이 복제되는 경우, 원본과 같은 기적을 일으키기도 하였다. 따라서 이미지를 복제함으로서 영험함도 복제할 수 있다는 이러한 경향은 보다 쉽게 불상의 진정성을 널리 유포시킬 수 있었을 것이다. 여기서 강조하고자 하는 것은 남북조시대의 일부 불상들은 아쇼카 왕이 만든 상, 혹은 그 상을 복제한 상으로 인식되었다는 점에서 이들 불상들은당시에제작된것이아니라, 훨씬오래전에제작된불상, 혹은오래된 양식으로서 당시 사람들에게 인식되었을 것이라는 점이다. 때문에 이들 불상이 보이는 양식은 당시의 양식이 아니라, 당시보다 더 오래된 양식으로 보이기 위한 의도된 고식, 혹은 고법이라는 점에서 이 시기의 양식을 倚古양식으로 불러보고자 하였다. 한편 이와는 별도로 우다야나 왕 조상설화도 전래되었는데, 이것은 우다야나 왕 시절에 도리천에 장인을 올려 보내 석가모니의 진용을 모사해 와서 조성한 상이므로, 석가의 모습을 그대로 담아낸 조각으로서의 의미를 지니고 있었다. 이는 말하자면 석가의 초상으로서 사실주의를 어느정도 바탕에 두어야했던 것이다. 이러한 개념에서본다면불교미술에서 사실적 양식이라고 언급해 왔던 인도의 굽타 양식이나 이를 받아들인 북위시대 운강석굴 초기의 불상 양식들은 서양의 사실주의와 구분하여 眞容양식이라고 불러도 좋지 않을까 제시해 보았다. 결국 이러한 고찰을 통해 단순히 인형에 불과할 수도 있었던 불상들에 사리를 대신한 진정성을 부여하기 위해 아쇼카 왕 설화와 같은 역사적 전통을 만들어 내거나 우다야나 왕 설화와 같은 시각적 전통에 의지해야 했던 당시의 상황을 짐작해 볼 수 있는 것이다.

대형 미디어 파사드 작업과 게임을 결합한 작품을 만드는 사례가 늘어나고 있는 지금, 그 주체가 예술가일 때에 고려해야할 다양한 주제들이 있다. 대형 미디어 파사드에서 게임을 주제로 한 예술을 행하고자 하는 예술가들이 고려해야 하는 사항들, 즉 공공성, 게임성, 관람객의 특성, 공간성 등에 대해 세밀하게 살펴보고 이를 토대로 대형 미디어 파사드가 가지고 있는 특성이 무엇인지를 인지할 필요가 있다. 이를 위해서 게임이 특성이 대형 스크린 공공예술에서 미치는 영향과 작가 중심적인 사고가 미디어 파사드 작업과 게임의 융합에 미치는 영향을 살펴보고자 한다. 이를 바탕으로 관중을 배려하고 효율적인 목적 달성에 이르는 작품 제작에 도움이 되고자 한다.

“설치”란 평면회화나 조각처럼 이미 제작된 작품을 전시공간(실내, 야외)에 걸거나 놓는 것이 아니라 반대로 전시공간의 여건에 맞추어 작품을 설치하는 이른바 현장 위주의 작업경향을 가리킨다. 물론 예외의 경우도 있지만 대부분 설치작가들은 이런 기준에 의존하여 작품행위를 한다. 따라서 이들에게 있어 장소의 문제, 재료의 문제, 그리고 발상의문제가 다른 장르에 비해 훨씬 중요한 의미를 갖는 것은 두말할 것도 없다.본고는 화예디자인의 새로운 형식의 모색으로 화예디자인과 조경예술의 융합적인 시도를 하였다. 선행연구를 토대로실제 설치작업을 통한 이론의 구체화를 시도하였고 설치작업은 크게 세 가지 방향의 주제로 나누어 진행하였다. 설치작업의대상지로는 서울시 서초구 신원동 일원의 양재조경(주)의 농장부지이며 선정된 주제는 ‘휴식’, ‘인연’, ‘생명’이다. 각각의주제를 잘 표현할 수 있는 환경과 장소성을 고려하여 선정하고 설치작업을 진행하였다. 연구의 결과로 설치예술로서화예디자인의 표현 양식과 조경예술이 공유할 수 있는 방법을 얻을 수 있었다.

본 연구는 집단미술치료가 저소득층아동의 자아존중감(Self-esteem) 향상에 긍정적으로 영향을 미칠 것인가에 대한 효과성 연구이다. 연구대상은 경기도 OO 지역아동센터 저소득층아동이며 연구기간은 2007년 9월부터 12월까지이다. 본 연구에서는 저소득층아동의 집단미술치료의 효과성을 확인을 위하여 자아존중감 척도 측정과 K-HTP 그림검사의 질적 변화를 분석하였다. 저소득층 아동을 대상으로 한 집단미술치료는 집단 내에서 서로 비슷한 문제를 발견과 이해를 할 수 있으며, 개인의 욕구 해결과 감정의 순화 및 자신과 타인을 긍정적으로 수용하여 자존감을 향상하는데 많은 도움을 주었다. 본 연구의 과정을 살펴보면 첫째, 집단미술치료는 저소득층아동의 자아존중감 향상에 긍정적 효과를 미치는 것으로 나타났다. K-HTP 그림검사에서는 집. 나무. 사람 그림에서 사전, 사후 그림 비교에서 안정적인 필압과 균형 있는 구도를 나타냈고 집의 형태는 비현실적인 형태에서 현실적인 형태로 변화 하였다. 사람의 표정은 사전보다 사후에서 자연스럽고 편안한 표정으로 변화하였으며 전체적으로 아름다움과 조화로움을 갖추었다. 둘째, 자아존중감척도 검사에서는 사전검사보다 사후검사에서 모든 아동의 점수가 증가한 것을 확인할 수 있다. 셋째, 미술치료활동과정에서 집단의 특성을 살펴보면 초기단계에는 불안하고 경계하는 눈빛으로 말을 잘 하지 않으려고 하였으나 표출단계에서는 자유로운 감정표출로 방어기재가 완화 되어 갔으며 집단에 적응하는 의욕적인 모습을 보였다. 실행단계에서 아동들은 초기와 달리 서로를 격려하고 칭찬하였으며, 종결단계에서는 긍정적인 마음 갖기로 자신감을 회복하고 수용적 자기태도로 자아존중감이 향상되는 만족감을 나타내었다. 이와 같이 본 연구에서 집단미술치료가 저소득층아동의 자아존중감 향상한 입증효과를 토대로 저소득층아동의 자아존중감 향상을 위한 집단미술치료의 효과성을 연구를 제시하고자 한다.

This study aims to find methodical similarities between pop art and Robert Venturi's works. Pop art and Robert Venturi's works gave attention to periodical changes and wanted to communicate with the public. This study approaches a topic from psychological viewpoints, especially visual dissonance. The results are as follows: 1. Manufactured Products ; Commercial Ornaments → Character Changes in Experienced Stimulation 2. Daily Elements ; Traditional Elements(Classic) → Contextual Effect of Canonic Representation In these cases, visual dissonance attracted a lot of public attention, and people would develop new meanings of objet. Pop art and Robert Venturi's works indicated value change in post-industrial society, therefore, this study can help to understand the correlation.

This paper briefly charts the history of excrement as part of the late 20th-century art and explores ways in which excrement functions in the realms of 'High' art. From Piero Manzoni's <Merde d'artiste> to David Hammons' performance <Pissed Off>, excrement has taken a small yet distinctively important part in the development of contemporary art. In an attempt to challenge the hegemony of 'high' art, on the one hand, and resist the commercialization and fetishization of art, on the other, Manzoni allegedly offered his own "shit" preserved in a tin can and sold it at the price of gold of the same weight. Andy Warhol took the legendary Abstract-Expressionist painter Jackson Pollock as the object of parody, simulating Pollock's dripping action by pissing onto the canvas that had been primed with copper-based paint. Warhol's urination produced splashes and stains of iridescent colors just as the patterns on ordinary abstract paintings. In contrast to Pollock's masculine action, Warhol's pissing alludes to the artist's homosexuality. Excrements in art also provoked controversies, debates, and even acts of vandalism against the artworks. The works of Andres Serrano and Chris Ofili infuriated many Christians for the blasphemous use of excrement with religious icons. Politicians engaged in the heated debates on the use of public and national funds in support of some of the 'politically incorrect' contemporary art. In the midst of media sensation and criticisms, these works challenged the conventional understanding of artistic beauty. The preexisting artworks were also targeted. African-american artist Hammons assumed the role of spectator in <Pissed Off> by urinating on Richard Serra's sculpture in the street of New York City. It was an act condemnation levelled at the racist pattern of the way in which large portions of funds and commisions of "public" art tended to promote established 'white' artists, whose work or creative process often failed to reflect the actual public. The use of excrement in art is not unusual in contemporary art practices. With its subversive power, excrement plays an important critical roles in the shaping of contemporary art.

In terms of element and process, art today has already been fully systemized, yet tends to become even more systemized. All phases of creation and exhibition, appreciation and education, promotion and marketing are planned, adjusted, and decided within the order of a globalized, networked system. Each phase is executed, depending on thesystem of management and control and diverse means corresponding to the system. From the step of education, artists are guided to determine their styles and not be motivated by their desire to become star artists or running counter to mainstream tendency and fashion. In the process of planning an exhibition, the level of artist awareness is considered more significant than work quality. It is impossible to avoid such systems and institutions today. No one can escape or be freed from the influence of such system. This discussion addresses a serious distortion in the selection system as part of the system connotatively called "art museum system,"especially to evaluate artistic achievement and aesthetic quality. Called "studio system" or "art star system," the system distinguishes successful minority from failed absolute majority and justifies the results, deciding discriminative compensations. The discussion begins from work by Hunter Jonakin and Dan Perjovschi. The key point of this discussion is not their art worlds but the shared truth referred by the two as the collusive "art market" and "art star system." Through works based on their experiences, the two artists refer to these systems which restrict and confine them. Jonakin’s Jeff Koons Must Die! is avideo game conveying a critical comment on authoritative operation of the museum system and star system. In this work, participants, whether viewer or artist, are destined to lose: the game is unwinnable. Players take the role of a person locked in a museum where artist Jeff Koons’retrospective is held. The player can either look around and quietly observe the works, which causes a game-over, or he can blow the classical paintings to pieces and cause the artist Koons to come out and reprimand the player, also resulting in a game-over. Like Jonakin, Dan Perjovschi’s some drawings also focuses on the status of the artist shrunken by the system. Most artists are ruined in a process of competition to survive within the museum system. As John Burger properly pointed out, out of the art systems today, public collections (art museums) and private collections have become "something unbearable." The system justifies the selection system of art stars and its frame of reference, disregarding the problem of producingnumerable victims in its process. What should be underlined above all else is that the present selection system seriously shrinks art’s creative function and its function of generating meaning. In this situation, art might fall to the level of entertainment, accessible to more people and compromising with popularity. This discussion is based on assumption and consciousness on the matter that this situation might cause catastrophic results for not only explicit victims of the system but also winners, or ones defined as winners. The system of art is probably possibleonly by desire or distortion stemmed from such desire. The system can be flourished only under the economic system of avarice: quantitatively expanding economy, abundant style, resort economy in Venice and Miami, and luxurious shopping malls with up-to-date facilities. The catastrophe here is ongoing, not a sudden emergence, and dynamic, leading the system itself to a devastating end.