This thesis is the study about architectural sculpture in american art since late20th century focusing on works of Robert Smithson and Nancy Holt. Archtecturalsculpture is postmodernist sculpture looked like architecture and architecture;s scalebeing in actual space. Architectural sculpture installed in actual space have site-specific. RobertSmithson and Nancy Holt made large scale outdoor sculpture imbued with theirsurrounding. Their works evolved out of their site with consideration given to thetopography, built environment, and local materials, along with the psychology,sociology, and history of each place.It is possible that art can be integrated into society. It can be place to rest.Architectural sculpture fused with its environment can give social meanings andfunctions to the public. Architectural sculpture has interior space which inspired byshelter. Achitectural sculpture was informed by a counter cultural urge to carryoutside the precincts of the art world. it was also influenced by feminism. Feministsclaimed that it was natural for women sculptors to be attracted to image of shelter.Lucy Lippard suggested that the biological and sexual roots of “sheter sculpture”, asshe labeled it, were in the female body. Architertural sculpture is ecological. they concerned about environmental preservation. In particular, Smithson maintains that art could mediate between theecologist and the industrialist so he set up sculpture as land reclamation. Theconcept of sculpture as land reclamation was presented in some earthworks ofRobert Smithson’s Spiral Jetty, Broken Circle, and Spiral Hill in Emmen, Holland.Smithson’s intent in those works was to focus on the process of entropy. Smithsonbegan to think directly of land reclamation art and made attempts to work withmining companies and quarry owners. He thought that art should not be consideredas merely a luxury but should work within the process of actual production andreclamation.

예이츠는 자신이 카멜레온의 길(호도스 카멜네온토스)이라 부르는 곳에 너무 깊이 방황하면 자신의 시가 파괴되지 않을까 걱정했다. 그 길에서는 상상력이 지나치게 넘쳐서 독자가 그 이미지들을 이해하지 못하게 되지 않을까 걱정했다. 그의 많은 희곡 작품에서 그는 이런 여러 이미지들을 실험한다. 그는 그가 읽은 페르시아 미술사에서 호도스 카멜레온토스와 동일한 이미지들을 발견했다.

The term “philosophizing art” was coined by Arthur Danto, who tried to define new forms of art, especially Andy Warhol’s pop art appeared in New York after 1960’s, which could not be explained by traditional concept of “representation”. As Danto said “the term 'philosophizing art' is unclear, whether art discusses philosophical issues or art is the object of philosophic discussions,” it does not seem like Danto himself had a specific idea when he used this term. The background for Danto coining this term derives from the fact that the old art concept such as denotation and connotation could not fully explain phenomenalistic aspects of concept art which appeared frequently at that time. Many articles in his book “philosophizing art," in which many of his criticism are included, mainly say that art begins philosophizing by dealing with not mimesis or representation but concepts. According to his argument, the history of western art, which has been consisted of mimesis and representation, has come to end when art is about physically embodied with meaning. Of course, as Danto say so, what goes to end is not art itself, but the narrative of art. It means master narrative saying art should be shown different from nature or artificial daily product is over. Danto could not find principals of mimesis and representation which had been main logic in the western art history, when he saw Andy Warhol’s Brillo Boxes at Stable Gallery, New York in 1964. Danto questioned “if we can not distinguish Brillo box’s artistic aspects visually from other factory-made products, how can we distinguish art from non-art,” By answering those questions, he discovered two facts which made him realize the end of Art: One is there is no special way in which works of art have to be shown or has to exist. Therefore, art history has proven that commercial boxes, trashes and files of underwear can be a work of art. The other is we have fully recognized it at the end of 20thcentury. Danto confessed that through Brillo Boxes, he realized the works of art are decided by something can not be seen by eyes, not by distinguished differences by looking at it. This thesis is trying to show personal understanding about art, philosophy and discourses surrounding them and to figure out how Dante opened a new world to art criticism by using new definitions such as ‘end of art’ and ‘philosophizing art’ which Danto used to explain inner aspects of art.

The article examines the attempts made at economic revitalisation of Ljubljana’s inner city and the consequences or “collateral damage” of this process. A lot of attention is given to the wider socio-cultural context, in which art istic practices are embedded in the city, and to the Slovenian population’s perception of such practices. Artistic groups and their practices are in this sense used as part of an ‘interim development’ strategy, i.e. temporary guests(non-statutory tenants) are warmly welcomed because their (sub)cultural capital happens to cultivate the area, making it "cool" and attractive, but when the value of the area’s real estate begins to rise their low-income status does not grant them any tenant protection. Regardless of the social role they played in revitalising the city, these groups are therefore gradually ousted from neighbourhoods, which quite ironically are often advertised in the real estate market as the city’s "Bohemian" or "cultural" quarters. This makes us aware of the lack of unique alternative or informal spaces, venues for alternative art movements and practices in the cities. These issues are presented on the cases of the alternative spaces of Metelkova and the Rog Factory, both located in Ljubljana’sinnercity.

This study discusses the community of participants in new media-based art of Taeyoon Choi, Wafaa Bilal and Mushon Zer-Aviv in relation to current discourses on social functions of art by Nicolas Bourriaud and Jacques Rancière. Focusing on these artists' participatory projects which aim to provide alternative perspectives on wars between countries, to raise awareness about expanding surveillance systems in city spaces, or to create new public spaces on the web, this paper argues that their works hybridize entertainment culture and political activism to suggest a new model for political art.

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does “art on the street” refer to “Street Art” such as street performance, happening, graffiti, or wall-painting, or does it refer to “Street Furniture” which is related to “City Design” or “Environmental Design”? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, “the street” is a metaphor of “environment.” Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and “city beautification.” Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliché, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to ‘embellish’ the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.

본 연구는 미술치료가 아동의 문제행동 개선에 미치는 효과를 뇌기능의 분석중심으로 알아보려는데 그 목적을 둔 사례연구이다. 연구대상은 Y시에 있는 S초등학교 3학년인 10세 남학생이다. 프로그램은 주 1회 40분씩 총 22회기에 걸쳐 진행되었다. 연구도구로는 대상아동에게 뇌기능분석을 사전과 사후, 추후로 실시하였다. 벅스검사, HTP그림검사를 사전, 사후로 실시하여 비교분석하였다. 본 연구결과를 통해 얻은 결론은 다음과 같다. 첫째 BQ테스트 뇌기능분석을 하여 사전․사후․추수 검사를 비교해 본 결과 미술치료 후 뇌기능의 변화는 기초율동지수와 정서지수의 향상에 따른 영향임을 확인하였다. 둘째, 벅스검사의 사전․사후 검사를 비교해 본 결과 자아강도부족, 자제력부족, 주의력부족, 울화․억제력 부족 등 문제행동이 크게 감소하는 것으로 나타났다. 셋째, HTP그림검사의 사전․사후 검사를 비교해 본 결과 형식적, 내용적 분석에서 미술치료가 아동의 문제행동 개선에 효과적인 것으로 나타났다. 따라서 본 연구는 미술치료가아동의 문제행동 개선에 유용한 개입임을 뇌기능 분석을 중심으로 보여준다.

미술(Art)은 아동의 정서발달(Emotional advancement)에 영향을 준다. 아동은 성장하면서 자신의 감정 상태를 인식하고 조절할 줄 알아야 상대방의 사고, 감정, 의도 등 을 이해하고 공감하여 기초적 수준에서 적절하게 대처할 수 있다. 아동이 자기 자신을 이해하고 수용하고 조절하는 능력이나 다른 사람을 이해하고 공감하는 능력을 발달시키는 것은 반복되는 정서의 학습이 각인되어 비슷한 상황에서 학습한 것처럼 반응되는데 미술치료를 통하여 분노를 잘 다루는 법을 배우거나 감정이입의 표현을 경험한다면 이것은 평생 동안 지속 될 것이다. 정서란 태어나면서 부터 행동에 작용할 뿐만 아니라 신체적, 정신적, 사회적 성격의 전반적 발달에 큰 영향을 미친다. 그러므로 영유아기 때부터 개발된 정서를 잘 유지하고 가족 간의 바람직한 양육과 보호로 정서를 높이는 것이 중요하다. 그러나 정서장애 아동은 부모의 통제와 억압으로 불안정한 정서를 갖게 되므로 미술치료(art therapy)활동에서 자신의 욕구표현과 매체(Media)의 충족 경험으로 내면에 억압된 감정을 표현하고 보상(compensation)하도록 도와 스트레스(stress)의 경감을 제공 받을 수 있다. 이와 같이 아동의 정서함양을 위한 미술치료는 언어발달상 표현의 한계가 있거나 언어적 상호작용에 문제를 가지고 있는 아동에게 있어 매우 효과적이다. 본 연구에서 아동은 미술활동을 통하여 우울(depression), 분노(anger), 반항(defiance), 공격성(aggression)등을 표출하며 부정적 감정배설(excretions)과 정화(catharsis),그리고 HTP그림 진단기법을 적용한 질적사례 연구를 제시하고자 한다.

오늘날 노인들은 점점 교육 및 경제 수준이 향상되면서 기본적인 요구인 의․식․주의 해결에만 머물지 않고 노년기를 보람되게 보내기 위한 다양한 요구를 드러내고 있다. 연령이나 고육수준에 상관없이 누구나 쉽게 이용할 수 있는 노 인의 미술치료를 위한 게임 디자인 연구를 통해서 고려해야 할 사항을 5가지로 제안하였으며, 노인이 선호하는 디자 인과 색상을 고려하여 3가지 원칙을 적용한 게임 디자인을 제시하였다. 노인이 이런 과정을 꾸준하게 반복해서 작품 의 완성도를 높인다면 스스로 성취감과 자신감을 얻을 수 있고 더 나아가 노인에 사회참여 기회의 장이 마련될 것이 다.

이 논문에서는 공연이벤트 특성의 스폰서십갈등관리전략의 연구자별 연구를 통하여 각 개념을 정립한 후, 공연이벤트 스폰서십갈등관리 요인과 영향에 대하여 연구하였다. 결과를 요약해보면 통계분석을 실시한 결과 선행연구를 토대로 설정한 가설은 공연이벤트특성은 스폰서십갈등관리전략에 유의한 영향을 미치는 것으로 나타났으며,스폰서십 갈등요인으로 설정된 이벤트, 재정적 지원, 목표달성, 사업적 관계, 커뮤니케이션, 마케팅서비스의 특성은 또한 영향을 미치는 것으로 판단된다. 인구통계학적 특성에 따른 공연이벤트, 스폰서십갈등관리 특성에 대한 타당성 검증의 최종문항 선택은 요인적재량이 0.5이상인 경우를 기준으로 하였다. 신뢰도 검증은 공연이벤트 특성에 대한 공통요인들의 크론바하의 알파 값은 0.7285 0.8574로서 대체로 양호한 결과를 얻었다. 또한 연구모형에서 종속변수인 정서적 이미지에 대한 크론바하의 알파 값도 0.9524 0.9180으로 매우 우수한 신뢰도를 나타내었다. 결과변수인 공연이벤트 스폰서십에 대한 관계성과의 크론바하의 알파 값은 0.8677 0.8795로서 매우 좋은 결과를 보이므로, 본 연구모형을 통해 잠재적인 요인구조를 설명할 문항들은 전반적으로 신뢰도가 양호한 것으로 판단되었다. 본 연구가 다루고 있는 공연이벤트(공연기획) 예술경영학문은 아직 초기의 단계의 단계에 있으므로 학문적 완성도가 높지 않다는 것이 지적되며, 본 연구 결과가 많은 시사점을 도출했음에도 불구하고, 공연이벤트의 스폰서십갈등관리전략에 관한 연구는 논제가 복합적 구성요소를 가지고 있어 각각의 정의가 광범위하다보니 연구의 한계를 갖는다. 따라서 기존의 공연이벤트와 스폰서십의 관계성과에서 초점이 맞추어진 신뢰, 몰입의 요소를 포괄적으로 접근하는 측정요소를 보다 구체적이고 명확화하게 할 필요가 제기된다. 공연이벤트 스폰서십의 관계성과에 대한 스폰서와 피 스폰서의 인식 차이에서 발생하는 요인들의 개발이 선행되어야 하며, 공연이벤트 스폰서십을 통해 발생하는 스폰서의 심리적 변인과 실체적 결과에 대한 명확한 측정요소의 개발이 향후에 진행되어야 할 것으로 사료된다. 이러한 연구의 한계점을 극복하는 후속연구가 활발히 이루어져 본 논문과 관련된 다양한 이론과 성과를 이루기를 기대한다.

This article discusses a consistent blend of autobiographical retrospection, metaphysical speculations, the passion of an old man raging against the approaching night. Many of these are similar to those in his earlier works, but art cannot be enlivened until it is kept in touch with “the foul rag-and-bone shop of the heart” as in “The Circus Animals’ Desertion.” In “High Talk,” Yeats resorts to the determination of the artist in a degenerate world. Using a circus metaphor, he demands the artist put on high stilts so he may catch the eye of the audience. He needs the stilts, now being incapable of the brilliant fantasy of past youth. The poet is Malachi Stilt-Jack, the maker of metaphors in art, but the walker upon stilts, though an eye-catching figure, is an absurd posturing creature in his “timber-toes.” The image of “its rag and bone” in “An Acre of Grass” is connected to the image of “old bones, old rags” in “The Circus Animals’ Desertion.” It is a recurrent theme of old age in Last Poems. Much of what has been noble and great is gone; what remains is raging of the flesh. Only memories of the past remain to the old man, physically exhausted. “An Acre of Grass” looks back on the major poetic themes in Yeats’s later life.

This paper discusses perfectionist writers W. B. Yeats and James Joyce. To compare how they worked slowly and creatively toward completing a work, I take two works by Yeats and Joyce, two of their best works. Yeats tends to work on his poems and plays continuously, even after they have been published. This paper looks at the rewriting of “Leda and the Swan” in several different stages, in order to see how the poem gather intensity and art, as an exemplification of what he did as a literary artist. Yeats’s attitude toward art and his literary style can be compared to the traits of art, and his literary style can be compared to that of the young artist depicted in A Portrait. In fact the young artist Stephen can be seen as Joyce the artist, and the paper discusses Stephen who grows linguistically and artistically competent. Yeats and Joyce are not merely Romantic writers; they were determined to develop new art and bring it to the highest perfection. And indeed they have achieved it in their works respectively.

인공생명 연구는 인공생명을 이용한 예술과 게임에 발전에 영향을 주었다. 인공생명 예술은 관람자의 상호작용을 바탕으로 이루어 져있으며, 인간의 관심이 게임에까지 미치게 되고 게임에서 최초로 수학 규칙을 이용한 The Game of Life과 사이버 펫, 아바타 및 최근 들어 타이쿤 게임(tycoon game)의 개발로 인해 게이머는 창조자의 경험과 공급자의 경험을 할 수 있는 게임이 발달 되었다. 또 이러한 인공생명 성장 임무 게임은 단순하지만 게이머의 관심을 몰입시킨 다. 본 연구는 인공생명의 탄생배경과 상호작용을 알아보고 인공생명 아트의 사례와 인공생명게임의 사례를 살펴보고 분석한다.

Focused on the performance of interactivity in the appreciation of media art, this study is associated with the continually changed art texts and a participator's physical reactions to savor the art. Digital works of art emphasizing interactivity usually decentralize and disperse the responsibility and the central role for creating and producing the art works. Proper procedure of the work is generated by actions such as clicking the mouse, controlling the joy stick or actual movement of anticipators' bodies. The art works are influenced by participators' interactivity, which makes the leading roles and the responsibility for creating art scattered and divided. These features are similar with those of the ‘Rhizome’ which Gilles Deleuze(1925~1995) and Félix Guattari(1930~1992) have discussed. In their argument, ‘Rhizome’ is an interval or being ‘between’, which keeps changing. ‘Rhizome’ is a state in which the individual and the work of art never reach the conclusion, only a phenomenon of eternally altering. Like ‘Rhizome’, this sort of art work has the decentralized system, opens for several directions, and activates the system which is changeable as linked items increased or decreased. These works stimulate the individual to perform and act while appreciating the art piece. In terms of processing and preceeding, interactivity is the important equipment and catalyzer. Through these procedures, the pieces can be the ‘floating work of art’ combined and condensed with the whole participators' reactions. The ‘floating work of art’ is neither the expression of an individual nor that of one particular group. Multidimensional influence of the web is the web which is constantly reorganizing and producing in its connective state. This connective state is activated by interactivity. The Rhizomatic system embodies the floating work of art process. Due to each individual perceiving art in individualistic terms, there is no dominating powers or central points. I regard this art works possessing above traits as the work of art with Rhizomatic system. The work of art with the Rhizomatic system is embodied through interactivity and because physical action activates the process of appreciation, a participator can actually experience and practice the philosophy. Ultimately the Rhizomatic speculation occurs during the interactivity of appreciating the Rhizomatic art pieces. The Rhizomatic system penetrates into the intuitive area beyond our recognition and thoughts, as we are engaged in the connective process. With the methods and manners of interactive art, we can possibly reconsider the system as a tool in which the participator is directly able to link experience and theory to the philosophies of Deleuze and Guattari.

In this paper, I examine the development of the second stage of Chicano muralism and compare it with the first stage of the Chicano Mural Movement that was born out of the Civil Rights Movement. I then discuss the different aspects of the first stage in relation to the birth of institutionalized public art and question how Chicano murals influenced public art and, conversely, how mainstream public art transformed some of the attitudes and practices of Chicano muralism. Chicano murals initially functioned as a political mouthpiece for Chicano’s human rights and as a tool to recover the Chicano people’s cultural pride and legacy. However, the murals gradually developed into public art projects supported by the city or federal governments, who regarded them as an economic way to effectively communicate with the community. In this process of institutionalization, muralists became increasingly concerned with aesthetic quality and began to work more systematically. For example, amateur artists or community participants who produced the earlier murals were transformed into mural experts. Chicano essentialism and the politically volatile themes used previously were phased out and the new murals began to incorporate diverse subjects and people, for example, native culture, Blacks, and women. This phenomenon reflected the changing emphasis on multicultural understanding. This kind of institutionalization did not always draw positive results. Inadequate funds were the primary concern over the actual subject and creation of the mural work. Artists reduced the strong political metaphors and aestheticized the mural forms. However, their work was productive as well: thorough research on wall conditions and painting techniques was conducted and new processes and designs were developed. This paper examines the murals created for the 1984 Los Angeles Olympic Games, Judy Baca’s works, and the Balmy Alley Mural Environment project in San Francisco’s Mission District. Works by Las Mujeres Muralistas in Mission District, in particular, show case colorful patterns and the Latin American indigenous culture, exploring new interpretations of old icons and design. They challenged the stereotypical depictions of females and presented alternative visual languages that revised the male-centered mural aesthetics and elaborated on the aesthetics of Rasquachismo.

The purpose of the study is to revaluate the new artistic values of Suprematism that immensely influenced the Russian culture in the beginning of the 20th century. Also through studying the relationship between people and costume within works of Malevich, who wanted to portray humanity through his art works, this study will research on how Suprematism not just stood as Russian Avant-garde art but significantly contributed to art and costume expression. The study methods are as follows. First, consider the formative background of Suprematism style of arts. Second, study of the development of Suprematism art through both Suprematism art and Non-objective art. Third, study how Suprematism style of arts is portrayed in art costume through works of Malevich. The results of the study are as follows. The Russian Suprematism art costume strictly originated from the Russian Suprematism style of arts. Suprematism simplified any reproductive element of fine art with a creative energy, which reflects the statement of Malevich that said, "The object does not exist, it only stands as a symbol." In other words, Suprematism abolished ordinary response to basic environment, and created a much more serious reality than the innate reality of the environment. When applied to art costume, such style sought after geometrical simplicity in shape and Neo-Premitivism trait in color. This trend is also expressed in 21st century fashion in new forms of Minimalism or Futurism. In this respect, Suprematism still holds an artistic value in a novel form even after a century since the beginning of 20th century when Malevich first presented Suprematism.

In Malaysia, figurative painting has increasingly become a means for artists to pose questions about presumptions of power and assumptions of history. The body, its potentially breached boundaries and defenses, forms an integral component of the battle for political influence. The degree of control over one's own and other people's bodies has become a measuring stick to determine the power of potential political leaders. Anxiety about boundaries and access to powerful bodies is intertwined with the questions of who has the right to hold power; the relevance of moral bodies and of what comprises an ideal self or selves. These questions are raised in intriguing ways in contemporary Malaysian art. While eschewing a direct take on current politics, Malaysian artists have increasingly turned to the body to address issues in Malaysian history, culture and the distribution of power. This paper will explore some works by three artists in particular, Wong Hoy Cheong, Nadiah Bamadhaj and Ahmad Fuad Osman use the figure to problematise dominant narratives in Malaysian history. Their work variously challenge political, racial and gender hierarchies and in so doing, reveal them as social constructions.

The history of art during the first half of the last decade was founded the discussion with highly impressive and confident. The art might establish its unique area based on self recognition at that era. The self-confidence of modern art may be possible on enlightenment, which is the firm relationship for knowledge and reality. However the faith of modernism which shows rational tendency, objective, and the existence of universal knowledge has been drastically doubted and criticized thereafter. A internal ideological system which had leaded the modern art was exhausted. Postmodernism revolved to the dramatic openness leaning against the deoedipalizational confession. According to the dissipation of the vitality of modern art postmodern art has been evolved and then various phenomena which follow the trends has been emerged. The avant-garde and resisteive attribute of modern art was diluted fast due to the influx of popular culture. As time goes it can be attracted by spectacle taste than metaphysical peculiarity. It has to inevitably justified the drift of light and quick themes, contents, and images. Such as these phenomena realistically shows fact that postmodern art had been failed to open a new chapter of consilience which intermediates beauty and usual communication to overcome the solipsism of modernism. A trial to pursuit the opened esthetics conceived more ‘heroic’ ‘Star-Subject’ than before by dismantling the modern ‘Hero-Subject’. Postmodernism has been recorded as a regression of art, which is the technology of profound spirit that mitigates antagonism and confrontation and mediates mutual encountering of human being. Prevailing of postmodern freedom had been accompanied by popularity, osetentation consumption, marketing, gambling level exitement, mixtures of desires with price fluctuations. We witness ‘self-confinement’ and ‘lasting absence of exit’ phenomena in postmodernism ideology and practice. We have to deal postmodernism as an ‘ideology which closes the discussion for the future’ in the context of ‘absence of way’ at this point. We are going to investigate how postmodern ideology and practice takes part in the prospection beyond thereafter through discussion. We also pay attention to the ‘absence of prospection’ as a internal problem in itself nevertheless mention the three merge points such as tradition or memory, earthy thought, the self who confrontation others as the clue of prospecting thought which is allowing coming over postmodern absence.