• Korea Science and Art Forum
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• v.35
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• pp.461-471
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• 2018

This study aims to determine the value of the willingness to pay(WTP) admission fees through surveying the level at which visitors to national science museums in Korea are willing to pay for admission fees. The determination helps objectively identify ways to substantially increase admission-based revenues, thereby enhancing managerial efficiency of national science museums. Using the contingent valuation method(CVM), we analyzed the WTP for admission fees of 250 visitors to Gwacheon National Science Museum. The statistical analysis revealed that the average amount of WTP was far higher than the current admission fees(4,000 won for adults and 2,000 won for children and adolescents). WTP of questionnaire respondents was normally distributed at the mean of 8,447 won for adult admission and 6,535 won for non-adult admission to Gwacheon National Science Museum. This result can be used as basic evidence to redetermine admission fees of national science museums and ultimately improve financial vitality.

• Journal of Science and Technology Studies
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• v.5 no.2 s.10
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• pp.97-127
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• 2005

While science museums, whose functions consist traditionally in collecting, preserving, researching, and displaying science-related objects, present scientific knowledge, figures, or tools in the historical context, science centers give more emphases on science education by exposing interactive exhibits to their visitors. However, neither objects-oriented exhibits nor hands-on technologies can provide museum visitors with the full insight into modem science in terms of its complicated relationships to politics, economy, culture, art, risk, and environment. This paper argues that for the 21st century we need to establish a new kind of science museum through the critical examination of its previous kinds - science museums and science centers. In the first part of this paper, the history of the first and second generations of science museums, including their recent trends in science centers, in the West will be elaborated. Secondly, the development of national science museums in Korea will be discussed specifically for the understanding of Korean science museums. The next part of this paper will seek for the possibilities of the third generation of science museums through three examples, which show interdisciplinary, contextual, and institutional approaches to change science museums or science centers. Fourthly, the social function of science museums as 'forum' will be discussed in relation to promoting public 'participation' of science as well as public 'understanding' of science. As a conclusion, some practical suggestions and conceptual guidelines will be proposed for the future Korean national science museum.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.82-89
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• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.299-306
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• 2013

While artists and architects both recognize the importance of well-designed exhibition spaces, they have rarely shared, through direct and open communication, their thoughts on what constitutes an ideal architectural context for art. Remy Zaugg's text offers a rare and valuable insight on artists' conception of an ideal space for art, and his words and diagrams have directly influenced some of the successful architectural projects for art in the recent past. By analyzing the original content of Zaugg's writings, and highlighting Zaugg's key design elements from three sample projects, all of which mention Zaugg's text as a direct reference, we can compile a list of core design elements for constructing an ideal space for art. Three museums closely incorporated all but two of Zaugg's seven core planning elements, and the remaining two recommendations on the luminous ceiling and gallery distribuition were more subjectively interpreted. These deviant components in turn become unique features to each project, suggesting proper areas of intervention for architects as authors.

• The Journal of Art Theory & Practice
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• no.2
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• pp.121-146
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• 2004

Compared to the influences of Korean art journalism, the researches on them are rarely conducted. This study aims to examine the influence of art journalism in art magazines in Korea. Although it is essential to consider media, journalism, public opinion altogether, I focused only on the media due to the absence of previous studies I have analyzed the current conditions of korean art journalism, types of feature articles, sponsors, their relations with articles and the comparison with foreign art journalism in terms of production conditions. There have been about one hundred art magazines published in previous sixty years and currently there are twenty three. Monthly periodicals are the majority: the publishers are sorted out as publishing houses, galleries, newspaper company in order specialized art magazines developed from the eighties. Through an examination of feature articles in these art magazines, I found that they repeated similar art issues and covered the same artists sponsors and articles. Moreover, when the magazines went through the conflicts between managers and editors, the ascendency of managers obstructed the development of art journalism regarding journal quality. These days, art journalism have been comparatively regressed compared to other art systems such as art museums, curatorship, international aft festivals, distributions and art promotion policies. The main causes for failure were the lack of professional management, the limited effort to diversify sponsors, and the repetition of the same informants and events without making an effort to be specialized Magazines are published media which contribute to the creation of culture, distribution, and preservation. Therefore art magazines can be said the most influential media in forming art culture and distributing it. It is quite necessary to reform the problems of repeating of information and the lack of speciality in conjunction with the commitment of management and editorialship.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.84-96
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• 2013

In researching the ontological status of fashion, a good grasp of fashion can decide the direction of fashion study. Fashion is sometimes considered an area of industry far from art from a point of view of purity of art, in spite of its aesthetic value and expression. However, art properties can be differentiated from the purity of art in modern aesthetics, and fashion properties which were the reason for that fashion to be considered as non-art can be affirmed as the same with properties of contemporary art properties. Therefore, the purpose of this study was to suggest the possibility that general properties of fashion can be accepted in the art arena through justifying art properties deviating from the purity of art. It can provide a boost to fashion's cultural status. For the research method, a literature review and case analysis were carried out through specialty publications related to art history, aesthetics, and fashion, regular publications and websites specializing in fashion, and art museums. Through the research, art properties deviated from the purity of art, which are; tactile sense, impermanence, dailiness, and commercial viability, were justified as being the same as fashion properties. These art properties were not general properties of fine art in modern aesthetics, but the ones occurring in contemporary arts. These properties, now present in contemporary art, can no longer disqualify fashion as a non-art.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.11-21
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• 2012

In order to increase visitors' viewing satisfaction and viewing behavior in the art museum exhibit by flat works, it is necessary to analyze the characteristics of major evaluation factors, such as 'the number of artworks and their intervals', 'the space of exhibition and the size of walls', and 'compositional change of exhibition spaces', which have a close relationship with each evaluation factors, by focusing on artworks and exhibition space. Thus, to investigate how the characteristic differences of the major evaluation factors in art museums affect visitors' viewing satisfaction and viewing behavior, this study compared the related analytical indicators, and conducted a correlation analysis. The results of this study are summarized as follows: First, the degree of concentration on artworks (which has been selected as a collective assessment indicator of visitors' satisfaction) increased when the exhibition space of art museum is display by less artworks and they have big interval in the large wall. Second, visitors' viewing satisfaction and qualitative viewing behavior increased when the exhibition space of art museum are simple and they change to simpler step by step. These findings imply that there is a high correlation between visitors' visio-perceptual experiences and viewing behavior, and that visitors' viewing satisfaction and viewing behavior can be predicted partially in the certain exhibition environment from this correlation.

• The Journal of Art Theory & Practice
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• no.15
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• pp.31-49
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• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.107-116
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• 2010

In Europe, traditionally the low-rised buildings for public art museum have been constructed since the 18th century like any other buildings and these are because of the technical issue for construction difficulty. Even if the low-rised art museum buildings are still continued for it's construction, gradually the high-rised art museum buildings begin to be build due to the development of contemporary technology in high-dense modern urban space. This tendency of high-rised art museum building in recent years is expected to affect on the interior space of it and most of all the spatial change in conjunction with circulation system variation is remarkable. Because the circulation system in art museum means tourist's spatial experience and it normally controls the experience of knowledge in art museum. This study is to understand how the multi-floored art museums in Europe affect to the spatial structure and how this is related to the circulation system. And also the study raised an issue on what it's social meaning is. Through these analysis the study can provide the meaning of multi-floored art museum and basic indication in art museum planning. To understand this, the study calculated the number of stories, number of vertical circulation and number of ring-structure space. Also the study tired to use space syntax tools, which are connectivity, integration value, integration value in major space, integration value in vertical circulation and intelligibility value. those tools alculated topological transfiguration of the whole space.Throughout the study, it was concluded that the influence of high-rised art museum in Europe changed the spatial structure and circulation system. The topological center of art museum that has been the grand space since 18th century changed to the vertical circulation due to the it's roll of distributing visitors to each floor. It became a starting point of spatial deployment and experience in art museum.

• Journal of the Korean Society of Costume
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• v.36
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• pp.219-238
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• 1998

For the purpose of this Study, the situation of Korean costume properties in the collection of overseas museums was investigated through correspondence, interviews with their curators and persons in charge and survey. As results were made about the situation of museum science (conservation) and practical utilization of costume properties. So, the study result were drawn as follows : Krean costume properties unexplaind of 'Korean cultural Properties' could be found in the Metropolitan Museum of Art of New York(135 pieces), the Brooklyn Museum of New York(20 pieces), the Newark Museum of New Jersey(15 pieces), and the Victoria Albert Museum of London(100 pieces). Korean costume properties in the collection of over-seas museums mostly fall under the rang of period between the 19th century and the early 20th century and are classified into everyday clothing, wedding costume and armors for the most part. In 1900s, museum in several countries began to collected Korean cultural properties through foreign missionaries or diplomats as well as merchants or travellers in who bought Korean objects. Recently, scholars, traditional Korean costume designerss and diplomatic and consular offices in overseas have donated our Korean costume to many foreign museums. Korean costume properties were largely on display in the dependent display of folklore museums or in a part of exhibition gallery for Asian culture and there were the separate exhibition rooms in museums in the United Kingdom, Germany, Denmark, Austria, Japan and the United States America. But the size and level of display room for Korean cultural properties is one third as large as that for chinese or Japanese cultual properties. It was found in this study that the traditional Korean costume in the collection of overseas museums was largely recorded only as general items rather than given their proper names. The typical example of misnaming included bridal's Kimono for Wonsam(원삼) in the Metropolitan Museum of Art, Yeonroksaek-bumunsajeokori for Dangeui(당의) and Jissan-gryongwonmunsadurumagi for Kongdali(동달이) in the Okura collection of the Tokyo National Museum, and so on. And the Victoria Albert Museum modified the way of wearing Daenim(대님) and the National Museum of Ethnology in Osaka seemed to misplace the ornament of Keanggi(댕기) on Mubok(무복) and Josunjuk(조선족: Chinese-Korean) Museum also misplace hansam(한삼). On the one hand, the Newark museum of New Jersey mixed Chinese armor with the Korean one and the Photohraph of King Kojong(고종) with Chinese one. It is corrected to publish and disseminate the book concering Korean costume in order to inform foreign museums of thed proper names and wearing method of our traditional costumed. The repair of costume before cleaning in the process of conservation treatment can prevent damage likely to occur as the properties of fiber itself are weakened in liquid. It is recommended that western 8-figure stitch and tacking stitch is added to Korean traditional stitching method. Museums in the U.S.A and the U.K are concerned about the aftermath of cleaning it-self, specially conservation treatment may exert on remains and predominantly use the vacuuming method to remove dust or bits of straw before the exhibition beings. But in case of Korea, the dry cleaning and wet cleaning method are used according to the nature and state of a sample costume. This comprehensive cleaning method is gradually developing scientifically but it is expected that those concerned will make a chemical analysis of the solvent to be used and also the more precise test of costume properties will be conducted before cleaning them. A partial study was made here because the scope of study was too broad and vast. It is expected that more studies will be conducted concerning our costume culture under the long-term plan and active support at the government level.