The purpose of this study is to develop a design as a high value-added exportable industrial product by developing a cultural product, that can be accepted as having universal beauty by people in the Western cultural area. This is done by, re-analyzing it from a modern perspective after applying the color representation, used in pop art, to Shin Saimdang’s Chochungdo (草蟲圖, insects on flowers) which clearly expresses Korea’s national emotion and aesthetic consciousness. The research method depends upon developing cultural products such as scarfs, neckties, handkerchiefs, and folding fans, which are communicated in the global market The expressive technique of pop art is utilized after reconstructing the color sensation of pop art in the aesthetic dimension of the natural, physical, and formative beauty of Chochungdo based on the whole understanding of our country’s genre of Chochungdo and Western pop art. With regard to the colors in the developed design, the basic colors were extracted and applied by selecting 10 pieces in the flower series, which were made with the silkscreen printmaking technique in the 1970s by Andy Warhol, a master in pop art. A work that integrates pop art, a global art trend, with Korean traditional culture is expected to highlight Korean traditional culture in the global cultural era.

The emergence of pop art in the 1960s exerted a profound impact on integrating art into the real lives of the general public, which continues in the current area of culture of post-industrial society. Thus, this study aims to attempt the popularization and modernization of Korean images by applying the concept of pop art to the development of a national symbolic image. This study utilized Mugunghwa, Taegeukgi, and the Great Seal, which are national symbolic images that establish the identity of Korea through differentiation, universality, and visual formativeness. It then proceeded with the development of neo-pop art motives and patterns using national symbolic images from the standpoint of symbolism, mix-match, and repetitiveness from among the characteristics of neo-pop art. This study carried out pattern design by departmentalizing each characteristic according to the standpoint of neo-pop art through scribbles composed of the following: Signs, pictograms, and childlike characters; drawing simplification for symbolism; a mix of the East and the West; a mix of subfashion and subculture for mix-match; the repetition of lines, characters, and icons; and the exaggeration and grotesqueness of characters and icons for repetitiveness. This study is expected to serve as momentum for raising the cultural value of Korea and for the development of a pattern design capable of achieving worldwide competitiveness through the combination of the permanence and continuity of national symbols with the popular universality of pop art.

This study examined the expression characteristics in pop art works of Jean-Charles de Castelbajac. The study here aimed at possibility to find a design development in building up the unique art world of creativity based on popularity, artistry, and originality without confinement to the trend only. For the research method, review of literature and analysis about Castelbajac's works reflecting the pop art feature in the collections from 2000S/S to 2012F/W were performed. The results of research are as follows. The external expression form of Castelbajac's works based on pop art was grouped roughly into use of mass culture image, appropriation of pop art expression technique, and parody of art works. First, his work appeared as application of the mass culture image such as symbolic thing in the modern consumer society, object in an ordinary life, character of well-known animation, national flag and famous star. Second, such appropriated pop art techniques showed as pop color in strong primary color and silk screen, photomontage, collage, assemblage, graffiti, and lettering. Third, a variety of images featured earlier in art works were shown in parody. These works are valuable in that they are expressed aesthetically through regeneration of popular culture's various images in view of fashion, they are described in the non-traditional value with frolic resistance and deviation out of existing fashion norm, and they are given the dynamic creativity integrated with art and fashion.

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.

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 thesis examines contemporary Chinese painting after the CulturalRevolution(1966~76), focusing upon so-called “Chinese Pop art”, which I termed as“Socialist Pop art”. I considered the art of this period within the broader context of socialchanges especially after the Tienanmen incident of 1989.After the Cultural Revolution during which idolization of Chairman Mao was at itspeak, one of the major changes in communist China was that an anti-Mao wave wasgenerated in almost every social class. For example, novels that revealed the hardshipsduring the Cultural Revolution were published. Posters that openly criticized the Maoismwere also produced and displayed on the walls, and demand for democracy spurredwidespread activist movements among young generations. These broad social changeswere also reflected in art. A variety of art movements were introduced from the West toChina, and after a period of experimentation with the new imported styles, artists began toapply the new artistic idiom to their works in order to visualize their own social andpolitical realities they lived in. It was a shift from earlier Socialist Realism to a newexpression either directly or indirectly, “Socialist Pop”, an amalgam of Socialist Realism andPop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communistgovernment quelled with brutal measures the students, workers, and ordinary people whorose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This timecoincided with the gradual emergence of art using Pop art vocabulary to satirize the socialreality, the Socialist Pop art, along with many other art forms all with avant-garde spirit.One of the most frequent subjects of Chinese Pop art was visual images of ChairmanMao and his Cultural Revolution, and new China that was saturated with capitalism, whichtainted the Chinese way of life with a Western way of consumerism and commercialism.The reason for the popularity of Mao’s image was spurred by the “Mao Craze”in the early1990’s. People suddenly began to fall in a kind of nostalgia for the past, and once again,Mao Zedong was idolized as an entity who can heal the problems of modern China whohad been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is nomore an object of worship of almost religious nature but he has become an iconographysymbolizing the complex nature of present Chinese society. During this process ofdepicting the social reality, Chinese artists are making the authority and sanctity of Maoismineffective. Dealing with this new trend of contemporary Chinese art in view of “Socialist Popart”two manners of re-creating Pop art can be illustrated: one that incorporates thepropaganda posters of the Cultural Revolution; the other borrows from Chinese traditionalpopular imagery or mass media, such as photos taken during Mao era. What is worthmentioning is that these posters and photos of the Cultural Revolution can be identified as‘popular’media, as they were directed to educate the popular mass, thus combination ofthis ingenuous pop media with Western Pop art can be fully justified as a genre unique toChina. Through this genre, we can discover a new chapter of the Chinese contemporarypainting and its society, as their Pop art can be considered as self-portraits true to theirpresent appearances.