• KIEAE Journal
• /
• 제14권5호
• /
• pp.13-20
• /
• 2014

Museums have developed various needs of the visitors and exhibits over the past two centuries. Currently, they have multiple functions of display, conservation, research and public education about artworks and cultural events. Therefore, exhibits should be displayed in various ways so that visitors can feel inter-relations with exhibits. The exhibition areas of museums should be provided with the stable lighting environment for visitors and artworks. For the study, I selected four museums, which were the Seoul Museum, the Mimesis Art Museum, the Seoul Museum of Art in Nowon and the National Museum of Modern and Contemporary Art in Gwacheon, and I measured illumination levels of the selected Museums, and then, I surveyed the visitors' responses on the lighting conditions of them. According to the results, the measurements of the illumination levels in the four museums showed that the illumination levels of them were effectively controlled to display the art works. However, the illuminance levels at some areas that drew the natural light as lighting source were much higher than recommended illumination values for museum. In the mean time, the answers of questionnaires showed that the natural light were so effective to light the museums although the natural light provided some areas with high illumination levels.

• 한국실내디자인학회논문집
• /
• 제21권6호
• /
• pp.204-211
• /
• 2012

The purpose of this study is to analyze characteristics and expression methods of contemporary art museums from the perspective of 'Rhizome', which is considered under similar context as 'indeterminacy' that represents the characteristics of contemporary public spaces. Methods of this study are as follows. First, necessity of this study is verified by investigating literature data and preceding studies, and by examining the fact that indeterminate characteristic is a new approach to contemporary public spaces. Second, in order to analyze Rhizomic expression in public spaces, analysis criteria are suggested by extracting components of public spaces and spatial characteristics of R150hizome from the literature. Third, Rhizomic characteristics and expression methods used in contemporary art museums are understood based on such analysis criteria. Fourth, when each spatial characteristic is expressed in art museums, the study found out that two factors among 'program', 'circulation', and 'form' are planned out as a mixture. Therefore, 'cohesion' is expressed as 'program' and 'form' in contemporary public spaces viewed from the perspective of 'Rhizome'. Also, 'diversity' is actively expressed through 'program' and 'circulation', and 'non-hierarchy' through 'form' and 'circulation'. Such methods are positive methods of expressing indeterminate contemporary public spaces. Since this study conducted analysis on characteristics and expression methods of public spaces from Rhizomic perspective of contemporary society, such results are deemed valuable in planning out public spaces that reflect the characteristics of contemporary society.

• 예술경영연구
• /
• 제50호
• /
• pp.177-212
• /
• 2019

본 논문은 한·중·일 작가들의 국제 미술무대 진출 현황 및 인지도에 대해 알아보기 위해 국제 미술잡지에 소개된 세계 여러 국가의 전시 현황을 파악함을 시작으로 옥션, 세계 유명 갤러리, 세계적 권위를 자랑하는 몇몇 미술관의 상설 전시, 세계 주요 비엔날레 그리고 베니스비엔날레의 수상 현황에 대한 분석을 시도한다. 먼저, 국제 미술잡지의 경우 한·중·일 작가들의 인지도는 서양의 몇몇 국가에 비해 상당히 낮다는 것을 알 수 있다. 옥션의 경우 일본과 중국 작가들의 활동이 두드러지며, 갤러리의 경우 일본 작가들이 높은 인지도를 나타내고 있다. 주요 미술관의 상설 전시 그리고 세계 주요 비엔날레의 경우 중국 작가들의 높은 인지도를 알 수 있으며, 일본, 한국 작가들의 인지도 또한 주목할 만하다. 마지막으로 베니스비엔날레의 수상자 현황을 살펴보면 한국 작가들의 인지도가 상대적으로 높으며, 일본과 중국 역시 주목할 만하다. 이를 통해 우리는 한국, 중국, 일본 작가들의 국제적 인지도가 앞서 언급된 항목별로 다르게 나타나고 있음을 알 수 있다. 이러한 결과는 향후 한국 및 아시아 미술의 글로벌 경영을 위한 기초 자료로 활용될 수 있다.

• 한국의류산업학회지
• /
• 제20권2호
• /
• pp.143-155
• /
• 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.

• 한국의류학회지
• /
• 제37권4호
• /
• pp.577-589
• /
• 2013

Fashion is traditionally perceived as a non-art in art philosophy; however, it is now being evaluated as art through the process of recognizing its cultural value and position. This study investigated the expanded concept of contemporary fashion in the same context of the expanded concept of contemporary art to present the possibility of fashion as art. This study enhances the artistic and cultural value, as well as the social function and position, of fashion by granting it the same status as art according to the concept of expanded contemporary art. For the research method, a literature review and a case analysis were conducted through specialty publications related to art history, aesthetics, and fashion in addition to regular publications, websites specializing in fashion, art museums and fashion style websites. The expanded aesthetic concept of contemporary art has embraced challenges to ideal beauty, production methods through interactivity, and expansion of art expression through mass media and industrial products. In the same context, the expanded aesthetic concept of contemporary fashion has established challenges to conventional beauty, the expansion of production methods, and the expansion and transfiguration of materials.

• 산경연구논집
• /
• 제14권8호
• /
• pp.9-17
• /
• 2023

Purpose: This study is to examine how modern art museums might develop into resilient, proactive, and adaptive enterprises. That implies that this study seeks to spur meaningful change by analyzing and comprehending the numerous facets of this issue, paving the path for a long-term future for contemporary art institutions worldwide. Research design, data and methodology: To achieve the purpose of this study, the current author has reviewed numerous relevant prior studies systemically. The technique used in this study was meticulously designed to guarantee accurate data collection and analysis, providing a thorough comprehension of the subject. An organized strategy was used, including finding, reviewing, and synthesizing earlier studies. Results: Based on the investigation of the current literature analysis, this study figured out four workable business models that might increase the prosperity of modern art museums. They result from a thorough examination of previous studies and these initiatives center on improving digital presence, enhancing community participation, diversifying revenue streams, and forming powerful alliances and partnerships. Conclusions: In sum, this study concludes that the use and integration of digital technology enable museums to reach a larger audience and open up opportunities for developing cutting-edge, interactive exhibitions that reflect modern patterns of participation and communication.

• Architectural research
• /
• 제13권1호
• /
• pp.3-9
• /
• 2011

To design and construct a museum of art involves the interest of artists, architects, curatorship, management, and local government. More than this direct relationship, museum obliges the public a mission of delivering genuine public experience through art and architecture. However, most of Modern and contemporary architecture has not delivered genuine public experience of integrated art and architecture. Conceptual message of art and perceptual architectural exhibition space has not been integrated easily. Picture frame canvas initiated this schism and institutionalized museum management hampered the creativity of artists. This schism was overcome through artists' questioning of museum culture and creative works that embrace work and its environment. In contemporary culture, installation art and media art necessitates a new museum format which needs not only exhibition, but laboratory and interface space with viewers. This paper will regroup the existing museum according to its use and strategy, and reinterpret progressive museums that fosters young artists, and more than this, will introduce successfully established museums for new forms of art, which are equipped with versatile exhibition spaces, innovative interface between works and viewers, and own laboratory that can produce works of art. These examples will envision a creative method of art and architecture production that can achieve genuine public experience.

• 조형예술학연구
• /
• 제7권
• /
• pp.105-127
• /
• 2005

This research is on the characteristics and roles of important cities of Germany based on the history of the modern art museum and its possessions. Especially, it is focusing on the modern art museums in the western Germany including Dusseldorf, Koln, and Frankfrut that have shown economic recovery from the Miracle of Rhine; the capital city of Germany, Berlin, as well as Munich, the second capital city of Germany. Here, it harmonizes with the tradition of the past and simultaneously, it spreads the concept and role of the new museum as a forerunner. After the WWII, this is the most active of supporting investment for art museums and authors from the economic development. Also, it represents Germany with its national promotion of culture and arts. The modern art museums of Germany emphasize the mission that they exist for the people and the nation as well as creation of new art culture. These art museums working for national culture and art development do not simply collect and preserve arts. They induce active involvement from the public and keep in mind of national objectives. Here, art museums become and educational setting for the people and a room for new art culture. This research is on Germany modern art museum and it is composed of important 'public institutions' of Germany that critically influence the growth of world-renown authors. After the unification of Germany, Munchen and the western region became an important places centering around new Berlin modern art museum. They are the best places that show the national objectives and regional characteristics. Also, there are art museum educational curriculum and open space for the people by explaining exhibition plans and contents. Furthermore, there are two characteristics of German modern art museums that are noteworthy. Firstly, there are Berlin's Neue Nationalgalerie, Munchen's Pinakothek de Moderne, and Dusseldorf's 'K20' (Kunstsammlung N-Westfalen K20) that are the roots of modern art. These modern art museums exhibit popular author's collection repeatedly. This has a tendency to standardize audiences' view or to make audiences bored. It is becoming more like a trend for art work to appear and disappear. Despite these problems, German modern art museums play a critical role for a new cultural art creation and for the national identity by attempting to show the works of domestic authors as well as an intensive collection of world-renown authors' works. Secondly, there is a role as a new art museum to work together with people. It strives to continuously educate difficult modem arts, exhibits in an open space stimulating interest, participation, and conversations. From these roles, Hamburger Bahnhof Museum fur Gegenwart or Dusseldorf's 'K21, Frankfurt Museum $f\"{u}r$ Moderne Kunst, $Kf\"{o}ln$ Museum Ludwig are given new attention. Here, they emphasize the importance of communicating with the audiences and provides experiences that are different from the original spaces by showing the architecture tecture style of the art museum. In conclusion, German modern art museums attempt various changes by connecting to art education. With art museum activities, there forms a connection between arts and the lives of people, and from this, creative cultural art focused on the art museum borns. This is not only limited to Germany, the U.S., etc. We, too, should pay attention to new art culture creation from changes of role and function of modern art museums.

• 한국HCI학회:학술대회논문집
• /
• 한국HCI학회 2009년도 학술대회
• /
• pp.1246-1251
• /
• 2009

세컨드라이프는 온라인 멀티유저 가상공간으로, 3차원 가상공간에서 사용자는 목소리와 텍스트를 통해 사용자간의 대화를 하며, 다양한 사회 활동을 하고, 새로운 형식의 가상물건을 만들 수 있다. 본 연구에서는 평면 회화, 퍼포먼스, 설치 예술, 미디어아트 등 다양한 형태의 작품을 가상미술전시를 구축하는 과정을 설명한다. 이를 통해 세 컨드라이프에서 컨템포러리아트 전시를 만들 때의 기술적인 한계와 가상화된 작품과 인간과의 인식관계에 대해 논의한다.

• 한국IT서비스학회지
• /
• 제16권1호
• /
• pp.139-162
• /
• 2017

Museums contain a significant meaning as a place that reflects empirical knowledge that have been accumulated socially and scientifically in overall life of the public and provides the opportunity to enjoy prestigious culture, while serving as the extended place of education. The first objective of this study is to increase the accessibility of general public through the development of online museum programs as service contents and to present the ultimate direction the development of in art appreciation contents that can effectively expand the infrastructure of culture and art. Second, the effectiveness of online art appreciation programs by registered private museums, which continuously develop smart media-based online museum contents and systemization of archive as the distribution rate of smart devices is increased due to generalization of digital environments, was analyzed by each case to examine the objective distinctions strategies. Third, in terms of museum visitors and smart contents users, this study examines the expected effects of popular distribution by seeking various ways that can enhance the desired exhibit appreciation and autonomous utilization of educational programs, while not being restricted by the physical accessibility and limitation of space at the museums. The subjects of this study included cases of BoroomSan Museum, Savina Museum of Contemporary Art, Imageroot, Sangwon Museum of Art, Hello Museum, etc. and the online smarts contents art appreciation educational programs by registered private museums were analyzed. Results expected to achieve from such processes are as follows. First, the possibility to expand cultural participation in museum exhibition appreciation and museum education infrastructure became widen. Second, the educational program resources can be utilized as the culture and art asset that strengthens the museums' responsibilities in their social role. Third, museum archive can be constructed in more systematic way, and the efficiency of museum archive system can be enhanced to maintain the museum collection database in a consistent format. Fourth, the museum's smart contents users' continued access to museum's online contents may induce the exhibition effect of the site and voluntary participation in education, and can also expect an economic synergy effect as the users become potential visitors that may actually visit the museum in the future.