• 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.

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

• 한국실내디자인학회논문집
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• 제21호
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• pp.139-146
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• 1999

Small art museums are important objects in the point of view that they are museums to speak for the general architectural culture of current Korea and immediate factors to have an effect on urban street view and urban people's life. In small art museums, form has had plural transfigurational process when we analyze the external component elements or form types, we will find various aspects. In past, composition of form was expressed by simple partition of surface and columv. Now a days, it is expressed with unnumerable formal vocabularies. Although these forms being looked plural, form principle of composition that prescribe it can be rather simple. This study aims to grasp the characteristics and the composition technique of form in small art museums by analyzing compositional elements of it.

• 미술이론과 현장
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• 제2호
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• pp.147-168
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• 2004

This study examined the role of interpretation with various practices in art museums to seek a new meaning and a concept of art museum today. The exploration of interpretation would he a starting point to discuss about on art museums with professionals in each art-related field. While museums recognize the concept of interpretation and the scope of the functions in different levels, the study focused on the practices of collecting and exhibiting that will entrust the museum new realms of activities toward the audience. In particular, its emphases are set force on the information on the collections via the museum's web sites, interpretation policies, and theories and methodologies in exhibition development. Art museum websites well reflect how museums utilize the new medium to enhance the understanding of art works by providing in-depth art historical information, comprehensive contexts, and subject/concept based search methods. In recent decades, these have enacted changes to expand dimensions of interpretive functions in most museums, particularly in the United States and others. In an administrative perspective, Tate Gallery Interpretation Policy became an good example how an art museum put its interpretation philosophy as the basis of interpreting collection and public programs. Tate established functions of intrepretation and education not only within a task-based team but also as an intrer-divisional coorperation to provide an interpretation scheme of information provisions such as guide brochure, audio tour, multimedia content, and library. New environment and trends of museum exhibition, and its development processes stem from communication theories, object interpretation philosophy, display strategies, and various evaluation techniques through audiences, with the communication theories of Shannon and Weaver, Berlo's SMCR(Source-Message-Channel-Receiver) models were perceived as to understand the mechanism to communicate museum exhibits to visitors Suzan vogel's insight into object display strategy helped to conceive the mechanism of object recontextualization. She emphasized that the museum's practice to construe opinions and impressions through object display should be discreet and critical, therefore, the professionals to plan the exhibition should reveal the intention and their practices. For a prevailing new methodology from the field, the interpretive exhibition development processes are articulated as the front-end, formative, and summative evaluation, futhermore the team process in industrial product management models was adapted. These have turned out to be more interactive with visitors and effective to communicate the exhibition concepts and messages, hence resulting in enriched museum experiences. Finally the study concluded that understanding the aspects of interpretation should help art museums to set a framework for current practices to expand its public dimension. It can provide curators with a critical view to website planning and its content. And obviously, the interpretive exhibition development methodology will lead museum exhibition developers to be skilled in its current approaches to thematic exhibition concerning diverse subjects and topics.

• 한국실내디자인학회논문집
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• 제16권6호
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• pp.197-204
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• 2007

In the spatial configuration of room-to-room art museums, openings and walls are important physical factors, and openings are a medium for connecting spaces. Also, by spatially composing walls and openings, spaces can be connected visually and physically, and movements and directions may vary depending on the location or size of walls and openings. In this study, 5 museums are investigated: Sainsbury Wing in London, Gemaldegalerie In Berlin, Alte Pinakotkek in Munich, Neue Pinakothek in Munich, and Staatsgalerie Stuttgart in Stuttgart. Using DepthMap program, the characteristics of visual-spatial composition of each museum are derived by comparing the Connectivity, Visual integration, and Isovist maximum radial. From an analysis of spatial distribution, a relationship with visibility is investigated. The results of this study showed that the combination of visual axial lines affect the spatial configuration of the room-to-room museums. Depending on the location of opening, the museums can be classified as follows: 1) Museums with the 1st visual axial line and the 2nd and 3rd auxiliary visual axial lines ; 2) museums with several equal visual axial lines; and 3) museums with only center axial line.

• 한국콘텐츠학회논문지
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• 제22권1호
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• pp.310-323
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• 2022

본 논문은 코로나-19로 인해 국내 국공립미술관 교육프로그램 운영이 얼마나 차질을 빚고 있으며 어떻게 성격이 바뀌고 있는지에 대한 조사·연구이다. 이를 통해 코로나-19시대 새로운 뮤지엄 문화의 특징과 변화에 대해 알아보는 것을 목적으로 한다. 연구 결과 코로나-19 이후 본 연구가 선정한 8개 미술관 교육프로그램의 수가 코로나-19 이전보다 34%의 수준으로 나타났다. 그리고 온라인 강좌 및 활동지/미술 키트를 이용한 교육프로그램의 수가 6개 미술관에서 70% 수준으로 높게 나타났다. 이와 더불어 작가의 아이디어를 기반으로 한 비대면 프로그램이 몇몇 미술관을 중심으로 발전하고 있다. 그리고 VR/AR을 이용한 프로그램 역시 수도권에 있는 미술관을 중심으로 발전하고 있어 코로나-19시대에 새로운 미술관 교육문화를 엿볼 수 있다. 이처럼 본 연구는 코로나-19시대 교육프로그램의 다양한 특징을 들어내며 향후 미술관을 중심으로 전개될 교육콘텐츠의 방향에 대한 예측과 논의를 가능하게 한다.

• 대순사상논총
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• 제18권
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• pp.191-213
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• 2004

The purpose of this essay is to survey the present situation of christian museums and to suggest future direction on the basis of the former result. Firstly, I arranged the present situation of protestant museums as a basic work to secure the importance of religious museums. And I will continue researches about catholic, buddhist, folk museums etc. A christian museum is important in that it is a storehouse of precious data accumulated in the history of modern Korea. However, interest in its value has not been given sufficiently so far despite its importance. Most christian museums are petty in their scale and management. When we consider the historical weight of christian history in the modern Korea, the status of christian museums have to be improved from now on. I classified the types of christian museums in Korea into christian history museum, christian art museum, biblical archeology museum, local churches' history museum, christian figures museum(memorials of famous christians), and mission school(colleges) museums on the basis of contents they possess. It can be said that the representative types among these are christian history museum and biblical archeology museum.

• 한국문헌정보학회지
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• 제46권2호
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• pp.175-197
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• 2012

The art museums in South Korea are mostly small-scaled institutions with small amount of art works. Thus, internationally accepted metadata standards such as CDWA and VRA Core may not be efficient to manage their collections. Because of these distinct local characteristics, there is a need to create a set of metadata elements that can be used for the art museum community in the country. This research aims to propose a set of metadata elements customized to fit into the context of small-scaled art museums in South Korea. The construction of the element set was not from scratch but on the basis of existing standards such as CDWA, VRA Core, and Dublin Core. By identifying core elements that are indispensable in describing art works and collecting opinions of experts in art museums, the proposed set of metadata elements is expected to support the operation and management of art works and satisfy the localized needs of the art museum community.

• 한국산학기술학회논문지
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• 제17권1호
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• pp.654-663
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• 2016

지역미술관은 미술자료의 수집, 보존, 연구, 전시, 교육의 기능을 갖추고 지역사회 발전을 위해 비영리적 기관으로 운영되고 있다. 이러한 미술관의 기반인 물리적 환경은 '인간에 의해 창조된 것'을 뜻하며 그 중요성이 강조되고 있다. 본 연구는 강원지역을 중심으로 미술관 물리적환경이 방문만족도에 주는 영향을 살펴보았다. 미술관 서비스 요소는 김홍희 (2012)의 연구를 참고하였고, Parasurama의 SERVQUAL 모형을 근거로 하였다. SPSS 18.0K 통계프로그램을 통해 강원지역 미술관 물리적 환경요인은 주변요인, 관람요인, 인적요인, 시설요인으로 나타났다. 가설검증 결과로 미술관 물리적환경은 전반적인 방문객 만족도와 성별에 따른 방문객 만족도에 정(+)적 영향을 주었고, 요인에 따라 차이가 있음을 확인하였다. 결과를 통해서 강원지역 미술관이 더 나은 물리적 환경을 구축하고 방문객과 지속적으로 소통하기를 기대한다.

• 비교문화연구
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• 제36권
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• pp.61-95
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• 2014

At the turn of the century in which European colonialism was reaching its zenith and modernization was gathering speed, public museums were institutionalized. This paper looks into the part these European modern museums played in territorializing academic disciplines like anthropology and art history. The museums to deal with are the British Museum and the National Gallery in London, Mus?e du Louvre in Paris, and Museumsinsel in Berlin. Rather than in-depth detailed analysis of each museum, the aim is to explore the ways in which these museological institutions interacting with modern disciplines in the wider colonial context objectified other cultures and formulated a framework of the world through classification and comparison of material things, on the basis of the judgement of their artistic values. This exploration is also to rethink theoretical positions and perspectives on the museum in Korea. It is remarkable in Europe that such academic fields as history, art history, anthropology and cultural studies look for new possibilities of museology in conjunction with the recent proliferation of studies on the museum as a medium to construct and deconstruct knowledge. Meanwhile, the mammoth European museums which are often considered a stronghold of museology advocate the 'universal museum' themselves, quite the modern idea but in a revised rendering. Under these circumstances, this paper seeks to shed light on the definition of the museum as an arena in which scholarly discourses about art, culture and history can be created and contested, on the effectiveness of the museum as a communication medium in a postcolonial era, and on the need to pay trans-disciplinary attention to the museum in its broadest sense.