• 대한가정학회지
• /
• 제33권2호
• /
• pp.181-186
• /
• 1995

This study is to analyse whether the senior students' experience of graduation exhibitions would be of any practical use when they are employed by fashion industry. To address this theme, a survey is carried out for 73 fashion designers who participated into the exhibitions. Survey results show the graduation exhibitions are worth Not because skills learned from the experiences are applicable to the industrial practice, but because they provide them self-confidence of finishing four year programs successfully. They responded that graduation exhibitions are most effecive when they requires to utilize knowledges and skills acquired from all across the major subjects.

• 스마트미디어저널
• /
• 제11권6호
• /
• pp.37-50
• /
• 2022

본 논문은 온라인 환경에서 작가들이 자립적으로 개인 전시를 열 수 있도록 메타버스 플랫폼을 바탕으로 전시공간을 구축하고 제공하기 위한 방향을 제안한다. 해마다 많은 작가가 배출되고 있음에도 많지 않은 미술관으로 인해 오프라인 전시가 힘들어지고 있는 상황에서 2019년 말부터 코로나로 인하여 오프라인 전시가 불가능해짐에 따라 그에 대한 대체 방안으로 온라인 전시가 대두되고 있다. 이를 위해 웹, 동영상, 가상현실 및 메타버스 환경 등 기존의 온라인 전시 방법 및 관객의 관람 방법의 사례를 분석하고 최근 주목받고 있는 메타버스 환경을 고려한 개인 전시 방향을 제시한다. 제안하는 메타버스 기반 개인 전시 방향은 작가들이 메타버스에서 공간을 구성하고 작품을 배치하고 이후 관람자들이 원격지에서 자유롭게 관람할 수 있도록 구성되었다. 제안하는 전시 방향을 바탕으로 대표적인 메타버스 플랫폼을 적용하여 전시공간 및 작품 구성과 사용자들의 전시체험에 대한 특성과 가능성을 확인하였다. 온라인 전시가 대두된 상황에서 오프라인 전시만이 아닌 온라인전시회에서 작가가 추구하는 방향으로 공간부터 구성할 수 있는 점과 경제적인 면을 부각하며, 코로나 종식 이후 온라인 전시가 부수적인 존재가 아닌 또 다른 장르의 전시회가 되기를 기대하며 작가들의 온라인 및 메타버스 안에서 개인 전시가 활성화되는데 기여하기를 기대한다.

• 한국의류산업학회지
• /
• 제6권1호
• /
• pp.71-77
• /
• 2004

Various types of industry, from manufacturing industry to service industry, can be a subject of exhibition. So, subdivided studies about exhibition for each type of industry or field are necessary. However, there are still insufficient studies about them. Also, fashion industry related exhibitions should be classified differently from other industries' exhibitions because of their special features. Therefore, this study examines that how an exhibition is utilized as a promotion means of a company and the present condition of a fashion exhibition. It also compares a fashion exhibition with other industrial exhibitions to suggest the effective operations and the progressive promotion of the fashion exhibition. This study uses questionnaire from 140 companies for 5 exhibitions, which participated fashion related exhibitions. Data of this study is statistically analyzed using SPSS for window ver. 10.0 program. It also uses frequency, cross tabs, paired t-test, Independent Samples t-test. As a result of this study, fashion related companies' recognition of exhibitions has been increased. However; in terms of exhibition participation, attitudes such as pre-promotion or pre-education for the staff, who are in charge of the exhibition booths, and the outcome of the exhibition aren't maximized because the right understanding concerning exhibitions is lacking and long-term preparation is insufficient. Also, advertisement for the exhibitions isn't enough because of insufficient preparation and absence of pre-promotion, so consultation with promising buyers can't be activated. Even though there are consultations, the consultations don't have much effect.

• 한국콘텐츠학회논문지
• /
• 제21권10호
• /
• pp.264-273
• /
• 2021

본 논문의 목적은 코로나-19 이후 뮤지엄 운영이 차질을 빚고 있는 상황에서 발달하고 있는 VR 전시의 한계에 대해 논의하고, 그 대안으로 현재까지 소개된 여러 유형의 AR 전시를 뮤지엄 중심으로 연구하여 코로나 시대에 디지털 콘텐츠가 어떻게 효과적으로 변화하고 활용될 수 있는지 알아보는 데 있다. VR/AR 전시를 코로나-19를 전후로 살펴본 결과, VR은 대부분 현실을 동영상으로 촬영하여 소개하고 있어 미학적 현장감부재와 HMD 장비운영 문제를 드러낸다. 주로 보급률이 높은 모바일을 이용한 AR은 특정 실내 공간에서 콘텐츠를 감상할 수 있는 '뮤지엄용', 개방된 실외 공간에서 이용할 수 있는 '특정 장소형', 디지털 콘텐츠와 인쇄물에 접목하여 우편형식으로 발송 가능한 '불특정 장소형'으로 나누어 볼 수 있다. 이중 특정/불특정 장소형은 실외 공간 및 우편 발송을 통해 가장 높은 비대면 효과를 나타내고 있어 펜데믹 시대의 효율적인 뮤지엄 콘텐츠 개발 방향을 제시할 수 있다.

• 과학교육연구지
• /
• 제39권2호
• /
• pp.290-305
• /
• 2015

본 연구에서는 국립대구과학관의 전시물과 프로그램을 과학 커뮤니케이션 차원과 과학적 소양 영역에 의해 분석하고, 관람객의 전시물에 대한 인식을 조사하여 분석하였다. 그 결과, 과학 커뮤니케이션 차원으로는 1세대가 48.3%, 2세대가 49.0%, 3세대가 2.7%를 차지하고 있었으며, 과학적 소양 함양을 위한 내용 영역 구분에서는 '설계된 세상'과 '기술의 본질' 영역의 내용이 다수를 차지하고 있었다. 또한 지역의 관람객들은 체험 위주의 2세대 과학관 형태를 선호하고 있는 것으로 나타났다. 시대적 요구와 새로운 패러다임을 반영하여 3세대 과학 커뮤니케이션을 보다 확대하고, 지역 시민들의 과학적 소양 및 과학커뮤니케이션 의식 함양을 위해 더욱 노력할 것을 제언하였다.

• 복식
• /
• 제62권6호
• /
• pp.182-199
• /
• 2012

The purpose of this study is to analyze the actual status of costume exhibitions displayed in architectural structures heritage today to examine if they play proper roles as visual materials and suggest the necessity of post-management for comfortable viewing. This is significant in that it makes costume exhibitions function as educational culture contents to let Korean and also foreign viewers know of our costume culture properly. As a research method, the database of the Office of Cultural Properties homepage was used to extract anything related to the lives of figures during the Chosun Dynasty among the architectural structures heritages in Seoul, Incheon, and Gyeonggido. By doing so, the costume exhibitions were able to be examined among them. With field investigation and interviews of related institutions, this study examined the current status of costume exhibitions, planning of exhibitions, and post-management. Also, they found costume exhibitions that were not right for the era, and suggested ways that were more appropriate for them. The results of this study were as follows : First, according to the third selection results, there were only six among 71 places where three districts of the architectural structures heritage were present. This is a very small quantity of places when compared with the total number of architectural structures heritage. Second, as a result of the current condition investigation, the costume exhibition in the Architectural Structures Heritage is not nearly enough for a historical investigation, and almost all polluted costumes were not displayed in suitable environments for an exhibition. Therefore, qualified managers who have expertise in exhibition planning were needed to be trained to do a post-management follow up. Furthermore, it is important to systematically reorganize post-management methods. Third, the two selected places(Haepung-buwongun-yuntaegyeong-jaesi and Sunaedong-gaok) were thought not to be right for the era among the six places with costume exhibitions, and suggestions such as flat-drawing and illustration were made.

• 한국기록관리학회지
• /
• 제21권3호
• /
• pp.119-138
• /
• 2021

디지털 콘텐츠를 전시하는 방식인 '온라인 전시'는 기록관에서 제공하는 또 하나의 기록정보서비스로 자리매김을 하고 있다. 본 연구의 목적은 오프라인 전시와 같은 역할과 기대효과를 제공할 수 있는 온라인 기록전시를 구축하기 위하여 필요한 기능요건을 도출하고 이에 대한 중요도 순위를 현재 온라인 기록전시 담당자에 의하여 파악하는 것이다. 이를 위하여 온라인 기록전시의 핵심기능 3개를 도출하고 다양한 기능요소를 제안한 32편의 연구로부터 13개의 기능요건을 추출한 다음, 16명의 온라인 기록전시 담당자가 판단하는 기능요건의 상대적 중요도를 분석적 계층분석 방법을 이용하여 측정하였다. 온라인 기록전시 담당자들은 '정보전달 기능', '전시효과적 기능', '정보적 기능' 순으로 중요하다고 하였고 가장 중요하다고 판단한 상위 기능요건은 '심미성', '상호작용성', '사용성', '교육적 경험제공성', '홍보 및 전시활성화'이며, 낮은 중요도를 보인 기능요건은 '주제적 독창성'과 '내용적 포괄성'이다.

• 미술이론과 현장
• /
• 제3호
• /
• pp.85-106
• /
• 2005

As biennale exhibitions has been expanded into all of the world since 1990s, these trends of blockbuster exhibitions have caused several problems. For instance, some major curators monopolized most global size exhibitions despite of a variety of cultural and historical backgrounds. Besides, due to a strong connection between these curators and their own artists, the young emerging artists' opportunities tend to be reduced as a result of the power game. In addition, major curators' power have influence on the exhibition style as well as on the theme itself. Some artists who did not involved that kind of huge scale exhibitions dispute that the direction of the exhibition is concentrating on the curator's interest instead of artists or viewers. Although these dissatisfactions could not portray correctly the process of organizing and managing system of a biennale exhibition, those biennale exhibitions held in recent have shown tautologic discourses without any passion and positive attitude direct to the exploitation of our society as a vanguard. In the process of comparing several kinds of biennale exhibitions, I could find that some artists who participated several biennale exhibitions at the same time did not present their creative vision, although the triumph of an exhibition was typically measured by the amount of visitors. Thus, the aim of this article is to prove that the biennale can show us new cultural discourse as well as progressive method of understanding our times. Is biennale producing the real 'global standard'? If biennale has done it, could this global standard present upto-date paradigm for the unique exhibition system? Is biennale providing an useful opportunity for the understanding and communicating of contemporary art through the recontextualization which is pronounced by the publicity of curator and organizing committee? How can we find the distinctive strategy from each biennale exhibition including Venice Biennale? Biennale, as a blockbuster exhibition, always requires a degree of hype, otherwise it would not be a special event and would not attract a big enough audience. It is the actual reason why major biennale exhibitions seem to be similar artistic events. Unfortunately, it seems that the excess of biennale exhibitions might bring about the lack of contents. In this case, the biennale syndrome would being a kind of the center of poverty, in spite of the visual splendor. After all, following the global standard may not be a matter of great importance now. What really matters is how each biennale exhibition which started under the different conditions can search their own identity.

• 한국컴퓨터정보학회논문지
• /
• 제24권3호
• /
• pp.49-56
• /
• 2019

The purpose of this study is to analyze the characteristics and meanings of Instagram hashtags related to the exhibitions as a online communication platform of museums. At the same time, it focuses on efficiency of hashtags as a reference framework of inferring viewing experiences. We collect and visualize Instagram hashtags of exhibitions held in Korea for the past two years including 'Paper Present (2017)', 'YOUTH (2017)', 'Monet, Draw Light Exhibition (2018)', 'Van Gogh Inside (2016)', 'Drawn by the Wind: Shin yun-bok & Jeong Seon'. To sum up, significant data related to viewing experiences are not derived, and hashtags as a reference framework of inferring viewing experiences are turned out to be inefficient. Meanwhile, we conclude that potential for distributing information about the exhibitions is inherent in hashtags. In terms of informational characteristics, we notice that the influence of hashtags related to regional information is presented more than the response toward the viewing experiences. This result shows that Instagram users in the exhibitions are worthy of place making rather than viewing experiences.

• 한국가구학회지
• /
• 제21권3호
• /
• pp.205-215
• /
• 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.