최소 단어 이상 선택하여야 합니다.
최대 10 단어까지만 선택 가능합니다.
다음과 같은 기능을 한번의 로그인으로 사용 할 수 있습니다.
NTIS 바로가기패션비즈니스 = Fashion business, v.17 no.4, 2013년, pp.40 - 57
In examining the relationship between fashion and art which are intimately interrelated, the body is a suitable subject in that it is the common object of representation. This study investigates and compares the images of the body in Francis Bacon's paintings from 1940s to 1970s and the formative as...
핵심어 | 질문 | 논문에서 추출한 답변 |
---|---|---|
미어스에 따르면 레이 카와쿠보는 어떤 디자이너인가? | 패션에서 몸에 관한 인식의 전환을 극명하게 보여 주는 디자이너로 레이 카와쿠보(Rei Kawakubo)를 꼽을 수 있다. 미어스(Patricia Mears)5)에 따르면 카와쿠보는 관습적인 미를 거부하고 패셔너블함을 재정의하는 전형적인 포스트모던 디자이너이다. The New York Times에서 저명한 패션 저널리스트 호린(Cathy Horyn)은 카와쿠보가 다른 어떤 디자이너 보다도 예술가의 정신으로 작업한다고 평하기도 했다. | |
베이컨의 작품은 어떤 것을 표현하였나? | 베이컨은 제2차 세계대전 말부터 본격적으로 회화 작업을 하였는데 1944년 십자가 아래 형상들의 세 연구 (Three Studies for Figures at the Base of a Crucifixion)라는 작품을 발표하여 그 강렬한 표현력으로 주목을 받았다. 베이컨의 작품은 전쟁, 기아, 강제수용소에서의 대량학살 등 동시대인들이 체험한 공포감을 표현하였기에 등장과 동시에 선풍을 일으켰다. 전후라는 시대적 상황에서 베이컨의 왜곡된 인간의 이미지는 당시의 절망적인 시대상과 인간성 상실로 해석되었다. | |
예술과 패션의 관계에 관한 논의가 정점을 이루던 시기는? | 예술과 패션의 관계에 관한 논의는 미술관 전시, 윈도우 디스플레이, 런웨이 쇼가 패션의 중요한 홍보 수단이 된 1990년대에 정점을 이루었다. 테크놀 로지와 혁신이 의복의 실용성, 기능성, 내구성보다 중요한 관심사가 되면서 디자이너는 점점 더 예술적 행위에 접근했고 개념적인 패션이 등장하게 되었다. |
Teunissen, J.(2011), "Fashion and art," Art & fashion: Between skin and clothing, Bruderlin, M. & Lutgens, A.(eds.), Bielefed: Kerber Verlag, p.105.
Geczy, A. & Karaminas, V. (2012), "Fashion and art: Critical crossovers", Fashion and art, Geczy, A. & Karaminas, V.(eds.), London.New York: Berg, p.3.
Geczy, A. & Karaminas, V. (2012), "Fashion and art: Critical crossovers", Fashion and art, Geczy, A., Karaminas, V.(eds.), London.New York: Berg, p.4.
Geczy, A. & Karaminas, V. (2012), "Fashion and art: Critical crossovers", Fashion and art, Geczy, A., Karaminas, V.(eds.), London.New York: Berg, p.9.
Steele, V., Mears, P., Kawamura, Y., Narumi, H.(2010), Japan fashion now, New Haven: Yale University Press, p.157.
Dresner, L., Hilberry, S., Miro, M.(eds.) (2008), ReFusing fashion: Rei Kawakubo, Detroit: Museum of Contemporary Art Detroit, p.3.
Morris, B.(1983), "The Japanese challenge to French fashion", (1983, March 21), The New York Times, p.B7
Koda, H.(1985), "Rei Kawakubo and the aesthetic of poverty", Dress: Journal of the Costume Society of America, 11, pp.6-7.
Koren, L.(1984), New fashion Japan, New York: Kodansha International, p.123.
Arnheim, R.(1981), Art and visual perception, Kim Chunil(translator), Hongsungsa, p.163.
Deleuze, G.(1995), Francis Bacon: Logique de la sensation, Ha Taehwan(translator), Mineumsa, p.7.
Deleuze, G.(2008), Francis Bacon: Logique de la sensation, Ha Taehwan(translator), Mineumsa, pp.19-22.
Domino, C.(1998), Bacon: Monstre de peinture, Sung Kiwan(translator), Sigongsa, p.96.
Roach, M. E., Eicher, J. B.(1973), The visible self: Perspective on dress, Englewood Cliffs: Prentice-Hall, p.101.
Park Sookhyun, Lee Jungok(1994), "Female figure ideal and dress depicted on painting of the 15th-l6th century -about influence of a decrease in population by the Black death", Journal of The Korean Society of Clothing and Textiles, 18(3), pp.298-301.
Hollander, A.(1975), Seeing through clothes, Berkeley: University of California Press, pp.83-156.
Svendsen, L.(2006), Fashion: A philosophy. London: Reaktion Books, p.79.
Taylor, M. C.(1997), Hiding, Chicago: University Of Chicago Press, p.185.
Barthes, R.(2009), The grain of the voice: Interviews 1962-1980, Evanston, IL: Northwestern University Press, p.365.
Svendsen, L.(2006), Fashion: A philosophy. London: Reaktion Books, pp.77-78.
Silverman, K.(1986), "Fragments of a fashionable discourse", Studies in entertainment: Critical approaches to mass culture, Modleski, T.(ed.), Bloomington: Indiana University Press, p.145.
Craik, J.(1994), The face of fashion: Cultural studies in fashion, London; New York: Routledge, p.4.
Dresner, L., Hilberry, S., Miro, M.(eds.) (2008), ReFusing fashion: Rei Kawakubo, Detroit: Museum of Contemporary Art Detroit, p.23.
Teunissen, J.(2011), "Fashion and art," Art & fashion: Between skin and clothing, Bruderlin, M. & Lutgens, A.(eds.), Bielefed: Kerber Verlag, p.106.
Martin, R.(2011), "Beyond appearance and beyond custom, the avant-garde sensibility of fashion and art since the 1960s", Art & fashion: Between skin and clothing, Bruderlin, M., Lutgens, A.(eds.), Bielefed: Kerber Verlag, p.119.
Steele, V.(2004), "Abstraction and the Avant-Garde", View On Color 28, Beeke, A., Edelkoort, L., Shah, D.(eds.), pp.28-29.
Heo Jungsun, Geum Kisook(2004), "Study on the distortion and deformation of the body shown in the fashion art", Journal of the Korean Society of Costume, 54(3), p.147.
Lee Hyojin(2000), "A study on deformation depicted on western costumes of the late 20th Century", Journal of the Korean Society of Costume, 50(3), p.18.
Arnheim, R.(1981), Art and visual perception, Kim Chunil(translator), Hongsungsa, p.548.
Lee Geumhee(2007). "Visual perception and body in pictorial space", Hongik University doctoral dissertation, p.37.
Domino, C.(1998), Bacon: Monstre de peinture, Sung Kiwan(translator), Sigongsa, pp.65-66.
Domino, C.(1998), Bacon: Monstre de peinture, Sung Kiwan(translator), Sigongsa, p.96.
Hong Duksun, Park Kyuhyun(2009). Body and culture, Publishing department of Sungkyunkwan University, p.451.
Domino, C.(1998), Bacon: Monstre de peinture, Sung Kiwan(translator), Sigongsa, p.52.
Domino, C.(1998), Bacon: Monstre de peinture, Sung Kiwan(translator), Sigongsa, p.87.
Davies, H. M. "Bacon's black triptyches", Art in America, March-April 1975, vol.63, no.2, p.65
Lee Geumhee(2007). "Visual perception and body in pictorial space", Hongik University doctoral dissertation, p.137.
Domino, C.(1998), Bacon: Monstre de peinture, Sung Kiwan(translator), Sigongsa, pp.118-119.
Domino, C.(1998), Bacon: Monstre de peinture, Sung Kiwan(translator), Sigongsa, pp.71.
Park Sunok(1992), "A study of the shape shown in the paintings of Francis Bacon", Hongik University master's dissertation, pp.39-40.
Park Sunok(1992), "A study of the shape shown in the paintings of Francis Bacon", Hongik University master's dissertation, pp.65.
Gowing, L., Hunter, S.(1989), Francis Bacon, New York: Thames and Hudson.
Russell, J.(1973), Francis Bacon, London: Thames and Hudson, p.132.
Sylvester, D.(1980), Interview with Francis Bacon, 1962-1979, London: Thames and Hudson, p.38, p.40.
Deleuze, G.(2008), Francis Bacon: Logique de la sensation, Ha Taehwan(translator), Mineumsa, p.64.
Domino, C.(1998), Bacon: Monstre de peinture, Sung Kiwan(translator), Sigongsa, pp.96-97.
English, B.(2011), Japanese fashion designers: The work and influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo, London.New York: Berg, p.69.
Breward, C.(2003), "Fashion", Oxford History of Art, Oxford: Oxford University Press, p.229.
http://www.firstviewkorea.com/Collection/PhotoImageViewPop.aspx?SeasonSS008&CityCD007&EventEV001&Designer218 retrieved Apr. 16, 2013.
Shimizu, S. & NHK (eds.) (2005), Unlimited: Comme des Garcons, Tokyo: Heibonsha.
http://www.firstviewkorea.com/Collection/PhotoImageViewPop.aspx?SeasonSS021&CityCD007&EventEV001&Designer218 retrieved Apr. 16, 2013.
http://www.firstviewkorea.com/Collection/PhotoImageViewPop.aspx?SeasonSS007&CityCD007&EventEV001&Designer218 retrieved Apr. 10, 2013.
Frankel, S. (2001), Visionaries: Interviews with fashion designers, London: V&A Publications, p.152.
Steele, V.(1991), Women of fashion: Twentieth-century designers, New York: Rizzoli, p.188.
Mitchell, L. (2005), The cutting edge, fashion from Japan, Sydney: Powerhouse Publishing, p.54.
Bruderlin, M., Lutgens, A.(eds.)(2011), Art & fashion: Between skin and clothing, Bielefed: Kerber Verlag, p.23.
Spilker, K. D., Takeda, S. S.(2007), Breaking the mode. Milano: Skira, p.159.
Dresner, L., Hilberry, S., Miro, M.(eds.) (2008), ReFusing fashion: Rei Kawakubo, Detroit: Museum of Contemporary Art Detroit, p.59.
Koda, H.(2001), Extreme beauty: The body transformed, New York: The Metropolitan Museum of Art, p.113.
Mower, S.(2001), "Talking with Rei," Vogue Nippon, September 2001, p.158
Steele, V., Mears, P., Kawamura, Y., Narumi, H.(2010), Japan fashion now, New Haven: Yale University Press, p.163.
Fukai, A.(2001), "Hifu to hifuku (Skin and Clothing)", The face of skin, book on International Symposium, Tokyo, The National Museum of Western Art, p.53.
Dresner, L., Hilberry, S., Miro, M.(eds.) (2008), ReFusing fashion: Rei Kawakubo, Detroit: Museum of Contemporary Art Detroit, pp.74-75.
http://www.firstviewkorea.com/Collection/Photo ImageViewPop.aspx?SeasonSS006&CityCD007&EventEV001&Designer218 retrieved Apr.10, 2013.
http://www.firstviewkorea.com/Collection/Photo ImageViewPop.aspx?SeasonSS020&CityCD007&EventEV001&Designer218 retrieved Apr. 16, 2013.
Horyn, C. (2010), "Paris: Body mapping", New York Times, March 6.
English, B. (2011), Japanese fashion designers: The work and influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo, London.New York: Berg, p.72.
Dresner, L., Hilberry, S., Miro, M.(eds.) (2008), ReFusing fashion: Rei Kawakubo, Detroit: Museum of Contemporary Art Detroit, p.111.
Dresner, L., Hilberry, S., Miro, M.(eds.) (2008), ReFusing fashion: Rei Kawakubo, Detroit: Museum of Contemporary Art Detroit, p.71.
Frankel, S. (2001), Visionaries: Interviews with fashion designers, London: V&A Publications, p.158.
Lee Geumhee(2007). "Visual perception and body in pictorial space", Hongik University doctoral dissertation, p.122.
Clark, H.(2012), "Conceptual fashion", Fashion and art, Geczy, A., Karaminas, V.(eds.), London.New York: Berg, p.74.
*원문 PDF 파일 및 링크정보가 존재하지 않을 경우 KISTI DDS 시스템에서 제공하는 원문복사서비스를 사용할 수 있습니다.
Free Access. 출판사/학술단체 등이 허락한 무료 공개 사이트를 통해 자유로운 이용이 가능한 논문
※ AI-Helper는 부적절한 답변을 할 수 있습니다.