• International Journal of Advanced Culture Technology
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• 제10권2호
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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.

• 한국의류산업학회지
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• 제20권2호
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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.

• 패션비즈니스
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• 제23권2호
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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.

• 디지털콘텐츠학회 논문지
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• 제16권2호
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• pp.263-274
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• 2015

제주지역은 지역별 인구대비 등록 미술관 수가 전국 최고이나 상대적으로 낮은 인지도로 대중과의 소통에 뒤떨어져 있어 시대에 맞는 홍보대안이 필요하다. 호감도와 접근도면에서 탁월하고 정보의 아이덴티티를 제공하는 디자인 QR코드가 미술관의 홍보매개체로 다양하게 활용되고 있으나 제주지역 등록 미술관의 대부분이 디자인 QR코드의 개발이 미비하여 현실적으로 실현 가능한 디자인 개발이 필요한 실정이다. 본 연구에서는 제주지역 등록 공립미술관 6개소의 Museum Identity현황을 기표와 기의로 나누어 의미체계를 분석하고 분석한 자료를 바탕으로 개발 선정한 4개소의 Museum Identity를 반영한 QR코드디자인을 개발하였다. 개발된 디자인 QR코드를 가치적 특성에 따른 디자인의 활용 사례로 제안한 연구이다.

• 한국가구학회지
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• 제17권4호
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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.

• 미술이론과 현장
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• 제2호
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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.

• 문화기술의 융합
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• 제8권5호
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• pp.285-290
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• 2022

중국의 급속한 발전에 따라 중국예술과 미술관도 빠르게 부상하고 있다. 본 연구는 중국미술관의 역사와 발전과정을 분석하여 중국미술관의 근대에서 현대에 이르는 발전과정을 정리하고, 최근 현황과 트렌드를 분석하고자 하였다. 중국 미술관은 서방 선진국 미술관과 격차가 있지만, 그 격차가 점차 좁혀지고 있는 것으로 분석됐다. 양과 질적인 면에서 중국 미술관은 빠른 성장을 보여주고 있고, 최근 미술관의 트렌드를 반영하여 변화하고 있다. 이러한 성장에도 불구하고, 자금 부족으로 인한 운영난을 겪고 있고, 제도와 지원 미비와 이로 인한 발전에 대한 저항, 전문인재의 부족 등의 문제점들이 있다. 최근 세계적 관심을 받고있는 중국미술관에 관한 연구는 매우 부족하기 때문에, 본연구는 한국의 중국미술관 연구에 기여할 수 있다. 본 연구를 통해 중국미술관의 발전과정과 현황, 문제점 등을 이해할 수 있으며, 이를 바탕으로 한국 미술관의 발전에 시사점을 주고자 한다.

• International Journal of Advanced Culture Technology
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• 제8권4호
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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.

• 사물인터넷융복합논문지
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• 제9권3호
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• pp.69-74
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• 2023

온라인 전시관을 기반으로 한 스마트(智慧) 박물관은 문화 예술을 체험 할 수 있는 예술과 미래 기술의 접목으로 4차 산업혁명의 움직임과 그 맥락을 같이 한다고 볼 수 있다. 본고는 중국 스마트 박물관에 대해 둔황박물관, 고궁박물관, 중국 공예미술대사 박물관의 적용 사례를 통해 중국이 4차산업의 기술을 어떻게 수용하고 기술을 적용하여 선도하고 있는지 살펴보았다. 공통적으로 중국 스마트 박물관은 환경데이터 수집 및 통합 디지털 어플리케이션 설립, VR AR을 통해 컬렉션 보전, 서비스, 관리, 전시에 폭넓게 활용되고 있었다. 본 연구자는 중국 스마트(智慧) 박물관 사례를 통한 온라인 전시는 운영상의 효용성이 뛰어나고 이미지 복제품 아니라 다른 차원에 존재하는 공간으로 파악하였다. 따라서 온라인 전시는 공간을 확장시킬 수 있는 최적의 매체이며, 감상자들은 박물관을 직접 방문하지 않고도 박물관 전시실을 구석구석 거닐며 박물관의 모든 콘텐츠와 소통할 수 있다. 스마트 박물관의 온라인 전시를 통해 관람객과 감상자는 보다 적극적인 문화소비자로 전환될 수 있으며 집단 역량을 키울 수 있다.

• 한국가구학회지
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• 제21권3호
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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.