The Establishing Process of 'Design Art' in South Korea through George Dickie's Art Institutional Theory: The Supplementary Role

Abstract

Background With the expansion of Design Art into various domains, opinions on whether design can be considered art diverge. However, it is essential to establish a developmental perspective in line with the expansion of design art. In this regard, this study examines George Dickie's Art Institutional Theory, which views art not as an inherent attribute but as a result of institutional recognition. The study explores the process and significance of constructing Korean design arts. Methods The study initiated the analysis of George Dickies works to establish the framework of art institutional theory. His theorys concept of "Elasticity confirmed the possibility of Design Art. By investigating the construction process of Korean design art institutions, the study focused on the Establishment Supplementary role which illustrates the characteristics of institutional theory in the art world. Researchers conducted literature research and site visits to track activities from 1966 to 2021, organizing the findings chronologically to examine quantitative and qualitative changes. Results During the 1970s and 1980s, Korean design art established foundation institutions. In the early 1990s, design art thrived with increased criticism. The opening of the Design Museum at the Seoul Arts Center in 1999 was a significant milestone. From the early 2000s, Design Art. gained popularity, with active exhibitions in municipal art museums and renowned galleries. Design art fairs and international academic conferences also emerged. By the 2010s, the Korean design art system matured, experiencing explosive growth in exhibitions and diverse themes. Design research played a pivotal role in cultivating public awareness and appreciation. Conclusions Tracing the trajectory of the Supplementary role it is evident that design arts have evolved alongside other compositional subjects in the art world. From the perspective of Dickies art institutional theory, it becomes apparent that the Korean art world has developed a series of systems that can be understood as Design Art. Design should transcend its limited role and embrace new challenges, leading to diverse creative and innovative endeavors.