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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2021.2
- 수록면
- 33 - 50 (18page)
- DOI
- 10.15187/adr.2021.02.34.1.33
이용수
초록· 키워드
오류제보하기
Background: This study analyzes the characteristics of South Korean feminist design practices. Since the feminist reboot of South Korea in 2015, the hashtag, “#sexual_violence_in_○○_field” movement that took place in the art and culture field in October 2016 became the momentum in which women designers’ voices were expressed as design practice. This study aims to prepare the framework to analyze this phenomenon of contemporary design practice.
Methods: In an analysis of feminist design practice, to draw concrete results, this study limited the research scope to the graphic design, the design field to which the researcher belongs. This study investigates feminist art sharing the history and trend of British and American feminist design practices in the historic context. From the history of British and American feminist art and design practices, this study draws a perspective of criticism and the framework of analysis. This study analyzes the domestic feminist design criticism.
Results: This study divided the types of classification according to content from the perspective of feminist design practice criticism into “political propaganda,” “emphasis of femininity,” and “deconstruction of dichotomy.” This study conducted an analysis, dividing the practices into: a practice as a ‘political propaganda’ to reflect women designers’ voices against inequality; a practice achieving the effect of subversion by clearly recognizing the difference between male and female and ‘emphasizing femininity’ or considering female users; and a practice attempting ‘the deconstruction of dichotomy’ inherent in the overall visual culture beyond the dichotomy between male and female. In addition, the potential of South Korean feminist design practices was categorized into: ‘design practice as an author;’ ‘design practice as solidarity;’ and ‘experiment on the possibility of media expansion’ to examine its characteristics.
Conclusions: This study presented the potential of examples of the contemporary graphic design practices as feminist design practices. Hopefully, future researchers and designers would be able to achieve the chronology and insight on feminist design research and practice through this study.
Methods: In an analysis of feminist design practice, to draw concrete results, this study limited the research scope to the graphic design, the design field to which the researcher belongs. This study investigates feminist art sharing the history and trend of British and American feminist design practices in the historic context. From the history of British and American feminist art and design practices, this study draws a perspective of criticism and the framework of analysis. This study analyzes the domestic feminist design criticism.
Results: This study divided the types of classification according to content from the perspective of feminist design practice criticism into “political propaganda,” “emphasis of femininity,” and “deconstruction of dichotomy.” This study conducted an analysis, dividing the practices into: a practice as a ‘political propaganda’ to reflect women designers’ voices against inequality; a practice achieving the effect of subversion by clearly recognizing the difference between male and female and ‘emphasizing femininity’ or considering female users; and a practice attempting ‘the deconstruction of dichotomy’ inherent in the overall visual culture beyond the dichotomy between male and female. In addition, the potential of South Korean feminist design practices was categorized into: ‘design practice as an author;’ ‘design practice as solidarity;’ and ‘experiment on the possibility of media expansion’ to examine its characteristics.
Conclusions: This study presented the potential of examples of the contemporary graphic design practices as feminist design practices. Hopefully, future researchers and designers would be able to achieve the chronology and insight on feminist design research and practice through this study.
목차
Abstract
1. Background and Purpose of Study
2. Definition and Origin of Feminist design practices
3. Frameworks of Analysis: British and American feminist art and design
4. Korea feminist design practices
5. Conclusion and Suggestions
References
참고문헌 (12)
참고문헌 신청
Crenshaw, K. / The Urgency of Inter-sectionality, A talk at TED Women 2016
정연심 / 2013 / 2세대 페미니즘 이후의 페미니즘 미술비평 / 한국근현대미술사학(구 한국근대미술사학) (26):169~193
Kim, E. / 2019 / Design & life keywords creators should pay attention to in 2019 / Monthly Design 487:112~117
Kim, G. / 2018 / Gender, Creation, and Money: Tumblbug Project of Feminists and Queers / Letterseed 17; Gender and Typography 10(1):12~19
Kim, M. / 2018 / Design & life keywords creators should pay attention to in 2018 / Monthly Design 475:51~57
정연심 / 2013 / 2세대 페미니즘 이후의 페미니즘 미술비평 / 한국근현대미술사학(구 한국근대미술사학) (26):169~193
Kim, E. / 2019 / Design & life keywords creators should pay attention to in 2019 / Monthly Design 487:112~117
Kim, G. / 2018 / Gender, Creation, and Money: Tumblbug Project of Feminists and Queers / Letterseed 17; Gender and Typography 10(1):12~19
Kim, M. / 2018 / Design & life keywords creators should pay attention to in 2018 / Monthly Design 475:51~57
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