• Korean Association of Arts Management
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• no.56
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• pp.349-380
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• 2020

The paper is to assess the recent changes in Architectural Artworks system in two regional districts, Seoul and Gyeonggi Province, and to propose policies for further improvement. We focused on four aspects: overall pass rate, top-ranked artists' pass rate, proportion of artists ever passed, genre proportion artworks. It is observed that quality of artworks has improved, market monopolization has been eased, and entry to the market has become more active. However, sculptures accounted for the majority. Public art is gradually changing from 'decorative art' to 'site-specific art', and seeking harmony between architecture and surrounding landscape. To keep pace with this new trend, more institutional efforts should be made: fund raising to induce artwork supplies; introducing life-span concept to secure removal and deformation of artwork; imposing artists' follow-up services; imposing penalties against poor management; and authorizing the committee to choose exhibition sites.

• Journal of the Korea Convergence Society
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• v.11 no.8
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• pp.123-129
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• 2020

Since the artist considers the space to display the work, the artist evaluates the exhibition space after using the exhibition space. Since this can be different depending on age, career, and genre, this study analyzed the difference in exhibition hall satisfaction according to the characteristics of artists using Marketing Mix 7P. The results of the study are summarized as follows. First, the product satisfaction of 20's and oriental painting artists was high. Second, the environment satisfaction of oriental artists with 5-10 years of experience and 40 years of age was high. Third, the promotion satisfaction of more than 21 years of career and 50's was high. Fourth, the exhibition manager satisfaction of with 20's and oriental painting artists was high. the process satisfaction of 5-10 years of experience and 40 years of age and other was high.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.536-544
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• 2020

Artists using exhibition spaces can select exhibition spaces considering marketing activities provided by operators or organizations of exhibition spaces, so it is necessary to study the relationship between marketing activities and satisfaction factors. This study examines marketing mix 7P factors, satisfaction, and prior studies as a theoretical background to demonstrate the decisive factors of the artist's exhibition hall satisfaction. As a result of analyzing the questionnaire collected from 144 artists used the exhibition hall, among the 7P factors of marketing mix, product, price, and progress process influenced the satisfaction of the exhibition hall, and the influence was in order of progress, product, and price. The suggestions are as follows. First, among the 7P factors in marketing mix, the fact that products, prices, and progress influencing the satisfaction of the exhibition place emphasizes factors related to the actual exhibition. Second, among the 7P factors in the marketing mix, the process had the greatest influence on the satisfaction of the exhibition hall, which means that the service delivery process is important.

• Journal of Korean Society of Archives and Records Management
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• v.24 no.1
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• pp.231-256
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• 2024

The study aims to investigate the production and management of contemporary Korean artists' personal records and propose support measures necessary for documenting their work activities, such as educational programs. First, through a literature review, the importance of documenting contemporary artists' work activities and the support program documentation are analyzed. Second, through interviews with six contemporary artists using various formats and media, records production by artistic process and management by documentation type are investigated. Third, based on the investigation analysis, the cooperation and support plan to be cooperated by art museums, archivists, and other record professionals for the artwork documentation is recommended. Areas of support are divided into educational program provision, museum artistic activity documentation, and documentation tools development and support.

• Korean Association of Arts Management
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• no.50
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• pp.177-212
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• 2019

In an effort to understand the global standing of artists from Japan, China, and Korea, this article presents an analytic study of data from auctions, notable international contemporary art galleries, notable international art museums, contemporary art biennials, and the Venice Biennales' award. We also look at select art exhibitions as they have been covered by international art magazines to analyze the geography of international contemporary art. Our analysis of international art magazines shows that the global position of the three Asian countries we consider is low in comparison with select Western countries. Auction data, on the other hand, reveals that Chinese and Japanese artists are highly regarded in economic terms, while the visibility of Japanese artists is emphasized in the data we consider from art biennials. In the permanent exhibitions and contemporary art biennales we look at, we note that the visibility of Chinese artists is much higher than that of Japanese and Korean artists, who also demonstrate remarkable visibility. We find that Korean artists represent an important presence in our analysis of the Venice Biennale awards, with Japanese and Chinese artists holding noteworthy positions. Through these myriad criteria, we develop a clear idea of the nature of the global position of artists from Japan, China, and Korea. The Asian art world can profit from these findings by considering them when developing strategies for managing the growth of its artists on the international contemporary art scene.

• Journal of Conservation Science
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• v.37 no.5
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• pp.516-524
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• 2021

The 'artist's intention' plays an important role in the conservation process of contemporary art. Accordingly, the information on artworks owned by the artist, their bereaved family members, and foundations that have decision-making power is important. The artist's interview is the kind of data that can clear 'artist's intentions' to ensure reliable conservation treatment can be carried out even after the artist's death. Therefore, this study attempted to use information from the artist's interview on the type of wood in the manufacture of the filler required for lifted and separated bark conditions in the conservation process of wooden artwork in the National Museum of Modern and Contemporary Art. While the conservation treatment resulted in the stable preservation of the bark of artwork, an analysis of the wood confirmed that the information in the artist's interview was not true. Consequently, we suggest that attention must be paid toward the information provided by artist, their bereaved families, etc. Based on the result of this study, this is also expected to help preserve upcoming artworks with similar bark conditions.

• Korean Association of Arts Management
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• no.56
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• pp.189-215
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• 2020

This study aims to understand the process of valuing contemporary artworks by young and emerging artists via online art platforms. This paper conceptualizes Bourdieu's theory of cultural capital, which theoretically guides us for conducting a case study of Saatchi Art. This article mainly collected data by interviewing seven Korean artists who were selected by our case with the supplement information carried out direct observation and document reviews. By analyzing the gathered data, the key finding of this research is that the selection of artists in Saatchi Art's curatorial program implicitly admits and guarantees the value of their artworks. By doing so, it contributes to building symbolic capital for the selected artists. This article also contends that such construction of the artists' symbolic capital results from the accumulated symbolic capitals of the founder and curator of the online platform. The theoretical contribution of this paper is to expand previous research on valuing artworks in the offline art world into the online one.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.14 no.4
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• pp.1582-1588
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• 2013

This study investigated whether artists' education level, college of graduation, and gender have any influences on artists' premium which leads to higher sales possibility and art price using Art Fair Market data. We found that artists' education level do not have statistically significant effects on either sales possibility or art price. But, artists' college of graduation which was measured by artists' undergraduate school level(high or low) has significant effects on both sales possibility and art price. Artists' gender also has a significant effect on art price, although it does not have any significant effect on sales possibility. These results imply that artists' educational level or degree does not exert significant impacts on artists' premium, while the level of college that artists attended indeed has a significant effect on artists' premium. They also imply that gender plays a role in Korean art market.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.2
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• pp.279-292
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• 2018

Unlike the global art market which experienced rapid recovery from the impacts of the Global Financial Crisis in 2008, the Korean art market has not yet fully recovered. The gallery-oriented distribution system, vulnerable primary art market functions, and the market structure centered on a small number of collectors make it difficult for young and medium artists to enter the market and, as a result, deepen the economic polarization of artists. In addition, the high price of art works limits market participation by restricting the general public. This study began with the idea that the interest of the public in the art market as well as their participation in the market are urgent. To this end, we noted that public awareness of art transactions can be a starting point for improving the constitution of the fragile art market, focusing on the 'Artist-centered Art Fair' rather than existing art fairs. To examine the contribution of such an art fair to the popularization of the art market, we analyzed the case of the 'Visual Artist Market (VAM)' project of the Korea Arts Management Service. Results found that the 'Artist-centered Art Fair' focuses on providing opportunities for market entry to young and medium artists rather than on the interests of distributors, and promotes the popularization of the art market by promoting low-priced works to the general public. Also, the 'Artist-centered Art Fair' seems to play a primary role in the public sector to foster solid groups of artists as well as to establish healty distribution networks of Korean Art market. However, in the long run, it is necessary to promote sustainable development of the 'Artist-centered Art Fair' through indirect support, such as the provision of a publicity platform or consumer finance support, rather than direct support.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.553-563
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• 2022

In the multimedia era and contemporary art, the expression of narrative is expanding in various ways based on formal theory. And the expression form is maximized according to the use of each medium. In terms of understanding artworks, an approach that combines various expressions and media using these narratives is also possible. Therefore, this study analyzed the works of the artists by selecting three artists, Sadic Guissi Alfrazi, Lindsay Sears, and Kara Walker, who fused the media using narrative structures. Through this, it was intended to present the artistic value and significance of the work and the possibility of expanding the narrative expression of contemporary art in the future. As a result of the analysis of previous artists' works, it was shown that the phase of convergence can be derived by using the medium of narrative concepts beyond the dichotomy of content and form, confirming that digital technology and media development are changing the form of art. In addition, it was confirmed that the use of narrative structure facilitates media conversion. It is expected that discussions on the new paradigm of contemporary art will progress in the future.