• Korean Association of Arts Management
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• no.53
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• pp.127-151
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• 2020

In this study, the announced in 2010 was used to identify the flow of social value expansion on the culture and art education and to provide the future direction. In the context of culture and art education, cultural diversity is an important agenda, and thus the case of cultural diversity program by the National Museum of Contemporary Art was analyzed to discuss the social role of culture and art education. To summarize the findings, it is a program of promoting understanding on the diversity of art in the same period and various identifies of the members of our society through the exhibition of «Artist of the Year», and it is a program on cultural diversity of understanding the diversity and identity of various members in our society through the contemporary artwork. Through theme-based approach, education on cultural diversity and cooperative learning were applied to develop the sense of community. Based on the core values of education on cultural diversity, the contents of the education program on performed total of 80 times on 14 programs in 2017-2019 were analyzed. As a result, the analysis showed 9 core values, and the core values of education on cultural diversity derived through the content analysis of the education program on were ① Engagement, ② Conversation, ③ Citizenship, ④ Coexistence, ⑤ Human Rights, ⑥ Difference, ⑦ Equality, ⑧ Cooperation, ⑨ Solidarity. As the space enhancing the cultural engagement, the art museum is a place for realizing the value on cultural diversity, so it has significance as the space that embraces both cultural diversity and culture and art education. In this sense, it was identified that the discussion on the cultural diversity and culture and art education was being expanded into the perspective of various groups and communities in our society through the core values of engagement, conversation, citizenship, coexistence, human rights, difference, equality, cooperation, solidarity and direction, which were provided by the analysis of the contents on the art museum education program on cultural diversity in the National Museum of Contemporary Art.

• Journal of Internet of Things and Convergence
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• v.9 no.3
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• pp.69-74
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• 2023

Smart museums based on the growth of online exhibition can be seen as in line with the movement of the 4th Industrial Revolution. By combining art and technologies, they enable viewers to experience culture and art. This study examined the cases of the Dunhuang Museum, the Palace Museum, and the China Arts and Crafts Master Museum to assess or identify how China is leading by accepting the technology of the fourth industry and applying the technology. In common, Chinese smart museums are widely used for collecting enviromental data, establishing integrated digital applications, and preserving collections, services, management, and exhibitions through VR, and AR. Through the case of the Chinese Smart Museum, this study identified the online exhibition as a space that exists in another dimension rather than an image replica with excellent operational utility. Therefore, online exhibitions are the best medium to expand the space, and viewers can explorethe museum's exhibition room and engage with all the contents of the museum without visiting the museum in person. Through the online exhibition of smart museums, visitors and viewers can be transformed into more active cultural consumers and develop collective capabilities.

• Journal of Conservation Science
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• v.33 no.3
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• pp.155-165
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• 2017

As interest in the public display of art and outdoor sculptures is increasing, the conservation and treatment of these sculptures is becoming increasingly crucial. Long-term exposure to the natural elements and atmospheric pollution can cause corrosion and deterioration in outdoor sculptures. In the case of Kim Chan Shik's "Feeling", which was exhibited in the outdoor sculpture park at the National Museum of Modern and Contemporary Art (MMCA), the patina of the sculpture was damaged during a long outdoor exhibition. Therefore, the treatment process was as follows: recording of condition, sanding, repatination, and wax coating. Consequently, the sculpture was restored similar to the original. Chemical analysis revealed that the sculpture was crafted from bronze and was cast from a quaternary alloy of Cu-Pb-Sn-Zn. The welding is lower in Zn, Sn, and Pb content than the metal used in the sculpture itself. Bright strains contain about 13.0 wt% Sn and 10.5 wt% Pb. The strains are higher in Sn and Pb content than the rest of the metal in the sculpture (7.0 wt% Sn and 4.4 wt% Pb). As a result of component analysis and microstructure observation, the material is estimated to have been made by casting without artificial treatment.

• Journal of Conservation Science
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• v.37 no.4
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• pp.402-410
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• 2021

Woolen tapestry curtains possessed by the Seoul Museum of Craft Art were used to hung on the wall or used for carpets in the winter season in the late Joseon dynasty. Since similar artifacts were only used for the curtain as functional aspects, woolen tapestry curtains were a rare case. In this study, scientific analysis on the accessory ornament of woolen tapestry curtains such as components of metal accessories and frame bar were conducted with the microscope, p-XRF, and SEM. Result of frame bar pigments, organic pigments such as ink stick were likely been used in woolen tapestry curtain 1. In woolen tapestry 2, lead red (Minium) was used in the frame bar. The result of metal parts, copper, and zinc were analyzed by p-XRF. This suggests that metal accessories were crafted using brass. Frame bar of woolen tapestry curtain 2 was made of soft pine (Pinus spp.) analyzed with the scanning electron microscope. Artifacts like woolen tapestry curtains are rare in Korea and scientific analysis databases were scarce, so it is important to construct components analysis data of woolen tapestry curtains. It is expected that additional scientific analysis and interpretation on the artifact's crafting technique can be merged with the analytical data gathered in this study to be utilized on the conservation and restoration of not only woolen curtains but curtain artifacts of the late Joseon dynasty in general.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.17 no.11
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• pp.2723-2728
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• 2013

Due to the popularity of smart phones based on personal propensities and individual lifestyle changes customerized services is increasing interest in the individual. The system for personalized services make a difference in the public institutions, museum of science and history. In particular, museums and art galleries have a common motivation which is sightseeing. Museum for the history and science education a national purpose that is put, unlikely art gallery. Museum of science and History, unlike the theme parks have a combination of entertainment and education as a public institution is a large consensus. In order to achieve this objective, exhibits raise a sufficient commitment to and the exhibits should be described by age. Using augmented reality combined with effective entertainment and education measures, we propose the effective smart guide service strategies for museum.

• Korean Association of Arts Management
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• no.55
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• pp.115-154
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• 2020

This paper examines the professional qualifications of the directors of important public art museums in Korea in comparison to museums outside Korea through analysis of the directors' primary qualifications, including academic background, major, career experience, and study abroad experience, as well as secondary qualifications, including length of tenure, age, gender, and alma mater, which can indirectly the hiring process for directors. The museums examined in this study are separated into three geographical categories - 1. Seoul, 2. the Seoul Metropolitan Area, and 3. locations in Korea outside the Seoul Metropolitan Area - to analyze how the influence of primary and secondary qualifications differs across geographies. Additionally, this study looks at how the professional qualifications of directors in Korea compare to the qualifications of directors outside Korea to identify the idiosyncrasies of the Korean system. It finds that directors in Korea, in general, have a shorter length of tenure, are older, are more likely to be female, and are less likely to be foreign than the directors of overseas museums. Experience-wise, directors in Korea often have experience working as art experts, artists, and art professors, but their backgrounds differ depending on the region in which they are working. Although directors in Korea have, across the board, studied abroad and graduated from prestigious universities, there are noticeable differences across the three geographical locations looked at. Notably, in Korea, the proportion of directors who majored in practical skills is high, while in the case of directors overseas, the proportion of those who majored in art history is high. In addition, while a high percentage of directors are graduates of Hongik University regardless of their museum's location, graduates of Seoul University are mainly concentrated in the Seoul and Seoul Metropolitan Areas. Museums outside the Seoul Metropolitan Area, on the other hand, often hire directors who have graduated from a nearby university. These differences mark a contrast between Korean museums and museums overseas, which generally hire directors who have graduated from prestigious universities, regardless of geographical location.

• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.77-84
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• 2009

Daylighting is one of the major elements in architectural design. It also plays an important role in the museums focused on displaying artistic works. Many architects have tried to predict daylighting performances in exhibition spaces during the design process of museums. The aims of this study are to present the design methods using the computer program RADIANCE that is available for the evaluations of daylighting performances in indoor space and to help architects design daylighting systems for better exhibition spaces of museums. For this study, Seoul Museum of Art was chosen and it was evaluated the recommended illuminance and the impacts of direct sunlight under the conditions of overcast sky and clear sky with sun. According to simulation results, they indicated that the alternative toplight system(sawtooth shape) was more effective for daylighting of exhibition spaces than the existing toplight system(pyramid shape) and this study showed a method to evaluate daylighting effects in exhibition spaces with various shapes of toplight systems.

• The Journal of Art Theory & Practice
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• no.10
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• pp.47-61
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• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.114-129
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• 2022

Securing a safe place to keep its collections in Busan, the interim capital during the Korean War, the National Museum of Korea could fulfill its mission to protect the national treasures. Right before Seoul was recaptured by the Communist forces, the museum managed to evacuate its collections to Busan in December of 1950. Until the armistice in 1953, a Korean government warehouse in Busan had to function as a temporary museum building. Protecting the national treasures in this small building, the National Museum of Korea had to maintain its role as a national museum and contribute in revitalizing cultural functions of Busan, the interim capital. The efforts led to hope for reconstructing the museum.

• Journal of Fashion Business
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• v.6 no.1
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• pp.102-115
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• 2002

The purposes of this study are to comprehend the internal meaning and the external form in style of Greek statue's clothing in the light of linked solution, and to compare the characterizations of style of Greek statue's clothing with those in Greek Art. For these purpose, the theoretical studies about Greek art are preceded as a framework of this research, and then plastic characteristics of Greek statue's clothing and Greek art are analyzed by the documentary studies, For sources, photographs of Greek statue in Archaeological Museum and Louvre museum are used. The result is as follows. It is demonstrated that the characters of internal meaning in style of Greek art and Greek statue's clothing. The internal meaning of style of Greek art and Greek statue's clothing are as follows 1) Beauty of vital is subject that possessed life and movement and embodied dynamics or inherent power. 2) Beauty of moderation is subject that achieves some of its most impressive and practise a similar economy and restraint. 3) Beauty of character is subject that reveals the character of its wearer and has its own charm and distinction The Greeks clarified beauty by looking for mathematical proportions. It is the interrelation of part with one another, and with the whole, together with the additional element of good colour, which constitutes beauty as perceived by the eyes. The beauty in style of Greek statue's clothing consists of a sense of geometrical pattern, oder, symmetry, proportion, and rhythm.