• International Journal of Advanced Culture Technology
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• v.10 no.2
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• pp.116-121
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• 2022

Digital technology has now pervaded and become an inseparable part of our daily life. The art museum sector is evolving into a business model that adapts to the new digital format due to the requirement for survival and development. This study examines the development state of China's art museum industry and investigates the current business model innovation trend in the art museum industry from three perspectives: reorganization and development of the art museum industry's business model theory; reconstruction of the art museum industry's display and marketing logic; and innovation of the art museum industry's operation mechanism, based on a systematic assessment of domestic and international research. This research can provide reference value for digital technology to drive the innovation of business model in art museum industry. Moreover, the study has important reference significance for the development strategy of art museum industry.

• Fashion & Textile Research Journal
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• v.20 no.2
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• pp.143-155
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• 2018

The purpose of this study is elucidate the status and role of fashion house museums including art museums that are affiliated to luxury fashion brands. This study is significant in that it offers profound understanding of the history of luxury brands and the direction of communication these luxury brands are taking through online and offline museums. For research methods in this study, literature review and case studies were combined. Based on the luxury type classification by Sicard, the scope of research was determined to include the French classical luxury brands to modern luxury brands and contemporary luxury brands. Examining the current status of fashion house museums, it was found that Cartier Foundation for Contemporary Art is an art museum operated by the luxury fashion brand, Cartier. Other fashion house museums in operation included $Herm{\grave{e}}s$ Museum, Foundation Louis Vuitton Museum, $Crist{\acute{o}}bal$ Balenciaga Museum, Yves Saint Laurent Museum, Gucci Museum, Christian Dior Museum, Prada Foundation Museum, Ferragamo Museum, Armani Silos, and so on. As for online museums, there was Valentino Garavani Virtual Museum. These luxury fashion brands' museums serves the following roles: provides references to the fashion industry professionals and researchers; differentiates the brand as means of experience marketing; promotes the brand and enhances brand communication through exhibitions of the founder and designers; archive the brand's design and builds the brand's history as a means of storytelling marketing.

• Journal of Fashion Business
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• v.23 no.2
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• pp.34-47
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• 2019

Fashion can be regarded as an effective marketing tool for the promotion of urban tourism. Since fashion is attractive in itself, it can work as a resource which fascinates people and attracts many tourists to the city. This study examines fashion tourism based on the close relationship between fashion and tourism. This study focuses on analyzing the positive effect of the existence of a fashion museum on the advent of fashion tourism, in particular. A fashion museum can be classified in the same category as an art museum, whereby the museum exists as specializing in fashion and is considered a fashion brand museum. Thus, this study examines the current trends and characteristics of fashion museums and analyzes roles of fashion museums in fashion tourism by types, which are based on advanced researches of general tourism including trends in the fashion tourism industry. The results of this study are as follows: First, a fashion museum can help spread the word and educate tourists about fashion culture. Second, a fashion museum can increase the value of its brand by strengthening the city's identity. Lastly, the presence of a fashion museum would encourage tourists to spend more money in the city, which causes a ripple effect on the city's economy such as creating more jobs within the fashion.

• Journal of Digital Contents Society
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• v.16 no.2
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• pp.263-274
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• 2015

Jeju're behind in communicating with the public and local population compared to the national registration number of the best art galleries and the relatively low awareness needed to promote alternative that fits the times. QR Code excel in design and favorable approach to provide the identity of the drawing and the information is being used to promote a variety of mediators of the museum. However, most of the Jeju Museum of Art is the situation with incomplete registration of the design development design development requires QR code is a feasible reality. In this study, I analyze the semantics of the Museum Identity divided into six places in Jeju registered public art gallery in the signifier and signified. Proposed a design QR code QR code developed and developing design reflects the Museum Identity of development based on a selection of four places to the use case analysis of the design according to the value of properties.

• Journal of the Korea Furniture Society
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• v.17 no.4
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• pp.85-99
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• 2006

Fredrick Krause's chair in the Brooklyn Museum of Art (accession no. 87. 19) is a key to the understanding of factory-made, patent furniture, and the Modern Gothic style in the United States. However, research has rarely done for this chair as well as for the designer. Since this piece is incorporating the utility patent, it is a valuable example to understand the nineteenth-century patented furniture. Because of the popularity of Modern Gothic style, the similar style of chairs were often manufactured. This study explores how other examples are related and what the significance of the Brooklyn Museum chair is. The book of Sharon Darling provided especially helpful information about other Krause chairs in Fond du Lac and chair manufactures in Chicago. The interview with John Ebert at Galloway House in Fond du Lac, Wisconsin was especially helpful. Several primary sources proved helpful in researching the chair. The photo archives. of Kimbel and Cabus at the Cooper-Hewitt National Design Museum provides me a key to this research.

• The Journal of Art Theory & Practice
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• no.2
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• pp.191-213
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• 2004

The trend of "Blockbuster Exhibitions" over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled "The Commercialization of Blockbuster Exhibitions in Museums," I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum's attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the "hype" that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of "souvenirs" from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to he influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation's tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs, while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In Slim, my dissertation discusses the mechanism of the commercialized "Blockbuster Exhibition" and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.285-290
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• 2022

With China's tremendous expansion, Chinese art and art museums are also rapidly growing. The purpose of this study was to arrange the growth process of Chinese art museums from modern times to modern times, as well as to examine the present state and tendencies. Although there is a disparity between Chinese art museums and those in Western nations, it is being observed that the gap is steadily closing. Chinese art museums are rapidly expanding and adapting to match current art museum trends, both in terms of number and quality. Despite this expansion, it is suffering operating challenges owing to a lack of cash, as well as issues such as insufficient system and support, opposition to progress, and a lack of professional staff. Since research on the Chinese art museum, which has lately attracted international attention, is limited, this study can add to research on the Chinese art museum in Korea. It is feasible to comprehend the development process, present condition, and challenges of Chinese art museums via this study, and based on this, we intend to provide implications for the development of Korean art museums.

• International Journal of Advanced Culture Technology
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• v.8 no.4
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• pp.25-32
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• 2020

Currently, Korean museums use gamification in addition to various viewing methods, such as video and VR/AR. However, museums using museum gamification are still progressing to a special program level. The purpose of this paper is to make the contents of the museum easy to understand and to give the viewers fun. This paper goes beyond the existing museum gamification and proposes a museum story gamification that combines story elements with gamification. This proposal system collects information from each museum in cooperation with museums, art galleries, and exhibition halls and proceeds with related story games. Museum Story Gamification provides related stories according to the theme of the museum and allows viewers to select their own stories. Also, based on the story, you can directly select the difficulty level that suits you and play a personalized game. Unlike the general museum program, the methodology proposed in this paper allows visitors to experience the museum with various story contents. In addition, it will contribute to the development and implementation of programs with gamification in other tourism fields as well as museums.

• Journal of Internet of Things and Convergence
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• v.9 no.3
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• pp.69-74
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• 2023

Smart museums based on the growth of online exhibition can be seen as in line with the movement of the 4th Industrial Revolution. By combining art and technologies, they enable viewers to experience culture and art. This study examined the cases of the Dunhuang Museum, the Palace Museum, and the China Arts and Crafts Master Museum to assess or identify how China is leading by accepting the technology of the fourth industry and applying the technology. In common, Chinese smart museums are widely used for collecting enviromental data, establishing integrated digital applications, and preserving collections, services, management, and exhibitions through VR, and AR. Through the case of the Chinese Smart Museum, this study identified the online exhibition as a space that exists in another dimension rather than an image replica with excellent operational utility. Therefore, online exhibitions are the best medium to expand the space, and viewers can explorethe museum's exhibition room and engage with all the contents of the museum without visiting the museum in person. Through the online exhibition of smart museums, visitors and viewers can be transformed into more active cultural consumers and develop collective capabilities.

• Journal of the Korea Furniture Society
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• v.21 no.3
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• pp.205-215
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• 2010

The professional alliance between disciplines of architecture and furniture design in the interwar years as displayed in the prominent architectural exhibitions of the era is interesting in the context of professionalization of American architecture. The way furniture design gradually became part of the architectural shows not only reflected but provided the practical field in which the architectural institution sought, under the new social order since the mid 1910s, a new professional cast-departing from the former milieu in the realm of high-art by the Beaux-Arts Movement. Exhibitions held by the Architectural League of New York in the 1920s revealed that the early impetus for reformation toward efficiency had been subsumed by the system of Beaux-Arts. By contrast, "The Architect and the Industrial Arts" show of the Metropolitan Museum of Art, in which the most prominent architects of the era exercised their professional expertise in the design of "Moderne Style" interior furnishings, clearly shows how architects, in the milieu of expanding commercial market, sought to align their profession as industrial designers.