• The Journal of Art Theory & Practice
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• no.3
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• pp.51-66
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• 2005

With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and galleries but also by private galleries, alternative spaces and open-air exhibition spots are being increased. Likewise, the number of exhibitions organized on a large scale by Biennales and local governments is on the increase. In accordance with actual tendency, the Ministry of Culture and Tourism has planned to increase the number of museums and galleries up to 500 by the year of 2011. Under these circumstances, the actual situation shows that the central and local governments are adopting beneficial measures to support the private galleries such as permission of construction on green belt areas and tax deduction. That is, our society has come to realize that the necessity and importance of public as well as private galleries to play their roles as cultural and educational institution. Now, the number of galleries is growing. Exhibitions are held everywhere. Therefore, spectators have more chance to visit them than before. With these conditions and the growing number of amateurs, social interest in curator organizing exhibitions is getting popular. Because of the rise of curatorial popularity on the social level, the influence of curators which is exercised within the gallery seems to become gradually enlarged. In reality, it is true that the curatorial influence cannot be ignored more than ever for appear in various fields their new features made from their professional cometence. The function of gallery is more strengthened and its position is more heightened than those in 80s. For these reasons, the curators whose playground is the gallery, they may be regarded as invisible power to the artists. Futhermore, their influence as such seems to be more likely because our world of art does not still have any reliable system of art criticism. Nevertheless, considering the actual situation in which national and public galleries as cultural institution would rather exist on the local sentiments or political dynamics than on autonomy, there must be some restrictions for the galleries and the curators to obtain the power. In this context, the actual moment is looked upon as transitional period to make the curatorship settled down. Before discussing the power relevant to curatorship, we are going to examine first the role and function of curator and then the new curatorial role and function at the age of information. Finally, we will see in sequence the development and problems of curatorship, the power and dilemmas of curator.

• Journal of the Korean Geographical Society
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• v.42 no.2 s.119
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• pp.258-279
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• 2007

Culture and art are emerging as main components in the creative economy to enhance the competitiveness of urban centres in the global market by nurturing cultural or artistic industries. A range of research exists which investigates the role of artists and art museums in the process of urban regeneration in Northern American and Western European countries. Yet research into the geography of at galleries acting as an intermediary between art works and cultural consumers remain rare. Empirical research on gentrification and urban regeneration and their connection with spaces for cultural consumption in Asian cities is even less common. The aim of this paper is to show the rise and decline of art galleries in Seoul and the way that this reflects urban development process, historically specific conditions and the characteristics of artists' communities. The background of the locational agglomeration of an galleries is examined in connection with the human ecology of artists, art business and its implication for the global market. The location of art galleries in Seoul seems to be affected by commercial art business and public policy, rather than by artists communities embedded in local areas. The location dynamics of art gallery clusters in Seoul is examined in the context of rent increases, changes of consumers' taste and fluctuating market cycles.

• Journal of Smart Tourism
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• v.2 no.1
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• pp.33-39
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• 2022

This research explores the public's perceptions of the appropriateness of the use of robots in museums and galleries. Using data from an international survey of 1589 participants, the data show that the perceived appropriateness of robot implementation in museums and galleries is driven largely by perceptions of the usefulness and emotional skills of robotic technologies, and their perceived advantages compared to human employees. Additionally, the findings suggest that the general attitudes towards service robots in tourism shape the attitudes towards robots in museums and galleries in particular. Furthermore, the findings reveal that the demographic characteristics of visitors are not related to their perceptions of robots in museums and galleries.

• Korean Journal of Air-Conditioning and Refrigeration Engineering
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• v.23 no.1
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• pp.61-72
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• 2011

The influences of luminous environment on visual responses and fatigue sensation in art galleries were examined in this study. Field measurements and survey were performed in three galleries under various illuminance and luminous conditions. Result implies that vertical illuminance on art paintings needed to be somewhere between 200 lx and 300 lx to avoid visual discomfort. The vertical illuminance difference between consecutive paintings should not exceed 100 lx to keep visually comfortable environment. Visual comfort sensations were related to glare, visual stimulus, reflection from paintings, illuminance variation, and the sensation that subjects can clearly see the paintings. The sensation of fatigue was significantly influenced by the changes of luminous element that caused visual stimulus and discomfort. The sensation of eye fatigue among physical fatigue was primarily influenced by the glare, visual stimulus and comfort. The psychological fatigue was also influenced by eye fatigue, visual comfort, brightness and satisfaction with color of light.

• Journal of Distribution Science
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• v.18 no.8
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• pp.47-54
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• 2020

Purpose: Through strategic marketing, art galleries can help retain the artistic value in an extensively urbanized world and also provide a means to showcase aspirational messages that artworks attempt to portray. The purpose of the current study is to analyze a marketing strategy for an art gallery based on prior marketing theories. Research design, data and methodology: Scant research is available to guide regarding what elements of marketing theories should be applied to accomplish customer satisfaction in an art gallery business plan. Thus, the present authors suggest more specific marketing strategy using four traditional marketing theories for practitioners who conduct business planning strategy in an art gallery. Results: The current study suggests the synthesized model for a successful business plan of an art gallery and figured out that two distinctive segments through marketing mix and SWOT analysis are ideal because it would be easier to meet visitors' aesthetic tastes while still meeting organizational objectives. Conclusions: As all other businesses, art galleries have to adapt to survive by innovating some of the components of the marketing mix to create a competitive advantage. It also requires a strategy for that combines targeting and segmenting with the incorporation of the marketing mix to attain competitiveness.

• 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.

• Information Systems Review
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• v.22 no.2
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• pp.167-199
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• 2020

The ICT-based curation as a series of experiences with the mobile exhibition-guide applications or guide programs in art galleries helps visitors fully immersed in the exhibition and allows them to have more informative and convenient guide experience at art galleries. This study aims to verify how the factors of ICT-based curation affects the commitment and satisfaction of visitors at art galleries, figure out whether the visitors' commitment has effects on their satisfaction, and then finally test the impact of their commitment and satisfaction on their revisit intention. In order to validate the cause-and-effect relationships between these factors, the ICT-based curation in this paper is categorized into five factors - gamification, quality of image/video information, quality of sound/text information, contextual offer, and instant connectivity. The main results of the study are as follows. First, only the gamification has significantly positive effects on the commitment of art gallery visitors, while other two factors - the instant connectivity, and the quality of sound/text information - have significantly positive effects on the satisfaction of visitors. Second, the commitment of visitors also has significantly positive effects on their satisfaction. Third, the commitment of the visitors don't have significantly positive relationship with their intention of revisit, but the satisfaction of the visitors have significantly positive relationship with their intention of revisit.

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.230-240
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• 2011

A gallery provides the function to make opportunities for artist to meet the customers who would buy the products from them. And there was performed the place where artist who production provider, planner, managers and private collectors met to distribute artworks and to educate fine art for public and provide a chance sending leisure time. We investigated this galleries at old urban center in daegeon region by the deep interview and Delphi method. A galleries was operated by a sense of duty and pride. Though its environment is poor, it grows up the young artist and art trends. By delphi results, the role of gallery is recognized as the discovery of an unknown young artist and provider of art trend and paradigm. Also they was recognized as the space for social and cultural responsibility operation culture. Galleries was recognized as key factors as literary value, marketability and harmony between gallery and artworks. Artist was known as a key factors as gallery's expertise, gallery awareness and capacity for artworks selling. Gallery will be considered the functions as the various cultural experience space and culture service space. Although galleries are passive and one dimensional functions.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.83-90
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• 2008

This study attempts to understand the arrangement and spatial requisites of art pieces by materializing the visitors' path of movement in the exhibition space, as well as researching their behavior. The purpose of the research is to the guideline for planning the exhibition layout and visitors' circulation can be derived in order to correspond to the visitors' characteristic of movement and circulation-path choice. Although such guideline may have limited use, it is still significant enough to be studied. Taking three Korean art galleries as the subjects of research, this study observes the arrangement of art pieces, movement path of visitors, characteristics of the visitors' behavior and the duration time a visitor takes to view an art piece without moving around in order to understand the arrangement and spatial requisites of art pieces which correspond to the visitors' behavior. The following results have been drawn in this research and analysis; First, when there is an island type exhibition other than the ordinary on-the-wall display in the exhibition space, the visitors' choice of path changes. In short, an island type exhibition seems to be a factor that changes the visitors' path. Second, in the entrance of an exhibition space unit, most of the visitors seem to choose a path which moves counter-clockwise. Third, it is considered that well-known art pieces or art pieces with a big size shall not be displayed on the comer of the exhibition room.

• Journal of the Korean Society for Library and Information Science
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• v.57 no.4
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• pp.263-287
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• 2023

This study aims to find an efficient establishment and operation of a gallery in public libraries. A literature review, field case study, and interview method were used. 15 public library galleries in 5 regions in Korea and 11 public library galleries in 11 cities in 3 countries were examined. 22 people were interviewed and 21 (95.5%) of them claimed that a gallery needs to be operated in a public library. The result of the analysis proposes the followings for an efficient establishment and operation of a gallery in public libraries: firstly, employing an art gallery curator according to the library's situation. Secondly, establishing a gallery of at least 55m² in size. Thirdly, allocating an appropriate budget. Fourthly, if possible, gallery rental requests are reviewed by external experts and a gallery needs to be rented out to the public free of charge. Fifthly, having an operating manual or a regulation. Sixthly, a gallery should be operated directly by the library.