• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2013.10a
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• pp.560-562
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• 2013

Due to the popularity of smart phones, interest in individual lifestyle changes and customized services has been increasing. With these request of change, there are seeking the changes of individual customized service system in public institution, museum, science museum etc. Specially museum, art museum and science museum have the common factor like "watching". Unlike art museum, museum and science museum have the purpose of the history and science education, and have a high expectations of combining entertainment and education as a public institution. For this purpose, they need to raise the immersion of display contents, and run parallel with providing more convincing explanation based on age group. Thus the purpose of this paper is that study the way of combining with efficient entertainment and educational function using argument reality.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.36-63
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• 2020

Percival Lowell took photographs of 80s during his stay in Korea in the winter of 1883 and 1884. The photographs are the first in the history of Korea and contain various and precious information about Korea of the day. As such, they could be used for purposes of studying late 19th century Chosōn society. The 61 photographs that are archived in Boston Museum of Fine Art were catalogued by National Research Institute of Cultural Heritage and have been posted online with incorrect explanations by Boston Museum of Fine Art. The explanations have been composed and revised at least four times on the basis of Lowell's writings and archivists' understandings of Korea. However these explanations contain many errors regarding the content of the photographs, yet have been cited by researchers and books concerning the history of Korea. I examined the explanations, analyzed Lowell's writings and diplomatic documents, and confirmed the locations where the photographs were taken. Accordingly, I suggest improved explanations of the photographs to prevent misuse of the Boston Museum of Fine Art's online archive. Lowell's photographs of Chosōn have very high historical value and could be used in various cultural fields because of their various contents and high definition. However, they belong to America and are not cared for sufficiently. Therefore, I suggest that high definition digital scans and prints of the photographs be generated for the sake of overseas Korean cultural heritage collection.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.5
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• pp.3203-3212
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• 2014

Company. s support for culture and arts started from mecenat activities. After then, it played a role as a tool of the company to satisfy consumers. cultural desires and improve the company. s image. As time goes by, it became a culture marketing which encourages business activities. Therefore, many companies try to develop their culture marketing activities in various fields. Especially art marketing has increased consumers. expectation and interest about art activities. Also, art marketing has become important as it has helped consumers to have critical view about products and improve their standard of life. As a way of art marketing, a company provides diverse exhibitions, sponsors and education programs related to art in either a specific space of the company building or a separate place. It can be said that this example of art marketing is a kind of an image marketing and public welfare at the same time. This article presents the concept of culture marketing and current condition of company. s support for culture and arts. In addition, the article depicts the concept and classification of art marketing. Furthermore, through analysis of company exhibition space and programs, the article illustrates the features and typology of art galleries managed by companies.

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.181-188
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• 2007

The existing art museums existed for preservation and exhibition of collected material and the work which has artistic value. But today the art museum is not just for preservation and exhibition. It takes charge of public education as opened place to public. Further, it wants to be the art museum that the visitors who visit the art museum can enjoy and participate. The role change of like this is judged with the inevitable result which follows in many social demand. And increase with interest of leisure and culture life and continued demand for education, the role of modern art museum is becoming wider. Llike this, to accomplish these roles, space configuration of the modern art museum is changing. In the future, to meet more social demands and to solve flexibly, the modern art museum must concern more spacial efforts. Therefore, to grasp the change and the aspect of modern art museum, this study analyzes the Jeonbuk Province Art Museum, the Gyeongnam Art Museum and the Gyeonggido Museum of Art, They are most recently opened museum after 2000. To grasp space configuration of these museums, space syntax was used. And with the result which is analyzed, as grasps the problem and suggest an alternative idea, it can suggest advanced and proper direction.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.1
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• pp.107-115
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• 2019

This research explores a historical trajectory of the Milwaukee Art Museum from its establishment to the third expansion over the last six decades. After established in 1957 by the architect, Eero Saarinen, this museum underwent three expansions led by three different architects including, David Kahler, Santiago Calatrava, and James Shields. Reasons for expanding the museum were varied. A lack of exhibition space, an absence of visual identity, and path interruption problem within urban contexts were the main factors of a series of expansion. Furthermore, this research points out that there are three issues in the process of the expansion. The first is connection issues between the downtown and the lakefront in which the museum has blocked the public flow. The second, there were controversies on the allocation of the expanded space among the main body of the decision including architects, curators, and stakeholders. The last one is relationships among architects. This is related to each architect's attitude toward the museum. Drawing on historical documents and interviews with the regional architects, I argue that the identity and values of the museum have changed over time through the expansions rather than having the invariable.

• The Korean Journal of Archival Studies
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• no.20
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• pp.151-212
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• 2009

Museums are producing new value and being redefined as places that reproduce context, as the process of globalization are being reflected in museum activities. The new additional functions and roles to the traditional mission of museums allow artworks to find potential functions of art archive and meseum. At the same time, the public has faced originality and aura of an artwork by viewing the physical subject. However, with the appearance of a new digital object, the initiative of viewing has moved over from the artwork to the hands of the public. Now, the public does not go to the museum to see an artwork, but has started to adopt to an opposite paradigm of bringing the artwork forward to the screen. Therefore, they are not satisfied any longer with just seeing an artwork, but demand more information about the artworks and reproduce it as knowledge. Therefore, this study aimed to find types and characteristics through definition and range selection of art archive at this point where the value of art archive is enhanced and systematic management is required, and to present record management methods according to art archive structure and core execution function. It especially stressed that the basis of overall art archive definition was in an 'approach' paradigm rather than a 'preservation' paradigm, and embodied various application methods of digitalized art records. The digital object of an artwork was recognized as the first materialization of an actual artwork, and the digital original of an artwork was presented as the core record. Art archive managed under physical and intellectual control were organically restructured focusing on digital original copies of artworks, which are the core record in a digital technology environment, and could be provided to users in forms of various services that meet their demands. The beginning of systematic management of such art records will become a first step to enhance historical value, establish art cultural identity, and truly possess art culture.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.24 no.4
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• pp.197-215
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• 2013

This study generated the suggestions to minimize the duplicated cultural programs offered by various regional public service institutions via promoting effective collaboration among the institutions with the limited local resources while making the public libraries as the center of the partnership. We measured the level of program duplicability; conducted statistical analysis of the cultural program offering; and analyzed program participation status as well as the participation surveys. This led to the following results: 1) public libraries focused on offering humanities general education related programs; 2) participants had high expectations on the reading and writing programs; and 3) social welfare organizations offered programs, which targeted the older population, and the corresponding participants had high satisfaction rate. According to the results, the institutions including the public libraries should take into account of the ages and preferences of the potential participants when offering various programs. In addition, the public libraries should continue to offer humanities general education as well as information use programs.

• Korean Association of Arts Management
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• no.53
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• pp.71-99
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• 2020

This study focuses on the case of the National Museum of Modern and Contemporary Art, Korea (hereafter MMCA) that has faced the issue of securing autonomy as an art institution in association with the neoliberal logic of economy as part of globalization. The MMCA was opened with limited operational autonomy due to the government's development-driven national system and bureaucratic perspective. Since being selected as an institution subject to a range of restructuring consequent to the IMF crisis in 1997, the MMCA is being assessed for its operational autonomy since then. This paper examines the socio-cultural background of the implementation of the Korean type of 'Executive Agency' and 'Non-Departmental Public Body'. Furthermore, regardless of the result of either implementation or withdrawal after the projects, this paper explains how these administrative reforms lead the conflicts between stakeholders, which would promote the MMCA's autonomy. As a result, the institutional restructuring process based on the neoliberal perspective might result in the operational dilemma that must simultaneously fulfil the publicness in a different context. Moreover, unlike the original intent to establish a performance-based system based on the principle of competition while minimizing government intervention, this study illuminates that the influence of the nation(or government) as the actual agent of the projects may become permanent. It implies that since the establishment and development project of MMCA has initialized the concept of statism based on legal authority, the operational autonomy of the MMCA which is premised on the reinforcement of expertise and publicness cannot be prioritized over the direction and control of the government.

• Journal of Industrial Convergence
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• v.22 no.1
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• pp.41-54
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• 2024

Contemporary ceramic art as a new art form, how to convey the visual information of contemporary ceramic art works to the audience through the design and display of exhibition space is the primary problem of exhibition space design. Based on the current lack of research on contemporary ceramic art exhibition space design, this study focuses on the characteristics of contemporary ceramic art exhibition space design, in order to achieve the best exhibitions effect of contemporary ceramic art. Firstly, summarize the previous research and examine the "Spirit of Porcelain" -2021 Jingdezhen International Ceramic Art Biennial Exhibition held by the Art Museum of Jingdezhen Ceramic University. From the perspective of human factors engineering, combined with comparative analysis of the overall spatial layout and display space form, the scientific unity of the overall layout of the display space and the flexibility and sustainability of the exhibition space form design are obtained. The theoretical knowledge obtained in this study provides theoretical guidance and important practical significance for the design of contemporary ceramic art exhibition spaces; Simultaneously contributing to the development of contemporary ceramic art exhibition space design in China and even globally.

• Korean Architects
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• s.588
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• pp.148-155
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• 2018

프랑스에서 건축은 특별한 의미를 갖는다. 1965년 9월 프랑스 루브르궁에서 '현대건축의 아버지'로 불리는 르코르뷔지에의 장례식이 국장(國葬)으로 치러진 것에서도, 또 유럽최초로 건축을 문화적 관점에서 성문화한 것에서도 이를 엿볼 수 있다. 1977년 당시 프랑스는 건축법(Architecture Act)에서 "건축은 문화의 표현이다. 건축의 창조성, 건물의 품격, 주변환경과의 조화, 자연적 도시적 경관과 건축유산의 존중은 공공의 관심사다"라고 규정했다. "프랑스에서는 옛날부터 국왕이 건축사(Architect)를 초청해 식사를 할 정도로 건축을 예술 문화적 관점에서 이해하고 접근하며, 특히 건축사(Architect), 예술가, 문화가는 프랑스에서 대단히 중요한 위치를 차지합니다." 프랑스 2PORTZAMPARC에서 20년 넘게 건축을 해온 송현정 건축사(프랑스 건축사)는 프랑스가 건축에 있어 특수한 역사적 맥락을 갖고 있다고 설명한다. 2PORTZAMPARC은 프리츠커상을 수상한 프랑스 건축사 크리스티앙 드 포잠박이 이끄는 사무소다. 업무차 한국을 찾은 그를 3월 28일 서울 광화문 성곡미술관에서 만났다.