• 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 Korea Entertainment Industry Association
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• v.13 no.3
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• pp.91-100
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• 2019

It is an undeniable that cultural landscape of Korea is centered in Seoul, where all the cultural powers are oriented. From this aspect, a municipal theatre of Daegu (Daegu Municipal Theatre), where is considered an area somewhat isolated from the perspective of culture, has managed to develop theoretical programs serving public purposes through efforts on the diversification of performance programs, development of creative plays, acceptance of open direction, classic, modern and experimental plays, foreign exchange, musicals and non-verbal, development of modern and post-modern history of the region, aggressive exploration of subjects, and characterization of the theater through citizen-participated programs and communication with citizens. With such efforts on diversification of public benefits and communality conforming to its purpose, it has been recognized for its contribution to the recovery of popularity of performance art and plays in Daegu. The Daegu Municipal Theatre, celebrating the 20th anniversary of establishment this year and having Choi Ju-Hwan as its fifth art director, has managed to conduct various experimental attempts to gain popularity and these include the exploration of the region and its historical figures, development and promotion of creative musicals, and promotion of communication between citizens and performance culture and of participation of audiences, in turn having a stabilized operation system. Such changes are seemed to be attributable to the maturity of performance production and roles of senior members. From this aspect, this study aims at investigating the changes in the Daegu Municipal Theatre and 'roles and popularity of national/public theatre companies.

• The Journal of Art Theory & Practice
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• no.2
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• pp.191-213
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• 2004

The trend of "Blockbuster Exhibitions" over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled "The Commercialization of Blockbuster Exhibitions in Museums," I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum's attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the "hype" that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of "souvenirs" from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to he influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation's tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs, while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In Slim, my dissertation discusses the mechanism of the commercialized "Blockbuster Exhibition" and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.

• The Journal of Art Theory & Practice
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• no.3
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• pp.51-66
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• 2005

With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and galleries but also by private galleries, alternative spaces and open-air exhibition spots are being increased. Likewise, the number of exhibitions organized on a large scale by Biennales and local governments is on the increase. In accordance with actual tendency, the Ministry of Culture and Tourism has planned to increase the number of museums and galleries up to 500 by the year of 2011. Under these circumstances, the actual situation shows that the central and local governments are adopting beneficial measures to support the private galleries such as permission of construction on green belt areas and tax deduction. That is, our society has come to realize that the necessity and importance of public as well as private galleries to play their roles as cultural and educational institution. Now, the number of galleries is growing. Exhibitions are held everywhere. Therefore, spectators have more chance to visit them than before. With these conditions and the growing number of amateurs, social interest in curator organizing exhibitions is getting popular. Because of the rise of curatorial popularity on the social level, the influence of curators which is exercised within the gallery seems to become gradually enlarged. In reality, it is true that the curatorial influence cannot be ignored more than ever for appear in various fields their new features made from their professional cometence. The function of gallery is more strengthened and its position is more heightened than those in 80s. For these reasons, the curators whose playground is the gallery, they may be regarded as invisible power to the artists. Futhermore, their influence as such seems to be more likely because our world of art does not still have any reliable system of art criticism. Nevertheless, considering the actual situation in which national and public galleries as cultural institution would rather exist on the local sentiments or political dynamics than on autonomy, there must be some restrictions for the galleries and the curators to obtain the power. In this context, the actual moment is looked upon as transitional period to make the curatorship settled down. Before discussing the power relevant to curatorship, we are going to examine first the role and function of curator and then the new curatorial role and function at the age of information. Finally, we will see in sequence the development and problems of curatorship, the power and dilemmas of curator.

• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.133-153
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• 2019

This study is about the development and creation of the public installation to enhance the contact chances with plants for the city dwellers who are living in the environment of limited green space. The researcher tried to create a floral art work at an island type bus stop on the central bus only lane, where the passers-by can enjoy the contact with plants for a second on that crowded space. The researcher made the study of various related cased world-widely and existing island type bus stop on the central bus only lane. The researcher also made pre-creation study of applicable forms and elements, and developed the prototype of the installation on the base of that study. Therefore the researcher created 1 installable screen type floral art work offering abundant contact experience to the viewers which has multiple shelves in the vertical frame to fit and be substituted by the designated wall unit of the island type bus stop structure. Also the researcher developed the prototypes of 2 small interior pieces. The meaning of this study can be found in the contribution of increasing visual experiencing rate of green space and chances of experiencing plants to create positive psychological, emotional effects by developing floral art works to be installed at crowded urban public space.

• Korean Architects
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• s.613
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• pp.70-75
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• 2020

• Journal of Fashion Business
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• v.11 no.1
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• pp.38-47
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• 2007

In the modern society that is advancing rapidly, the hair art is also advancing and subdividing. The purpose of this study is to investigate unique field of formative as characteristics and forms of copper wire, focused on such a harmony of hair art, the present thesis aims at developing concept of hair art as a creative way, and recognizing the formative characteristics of copper wire as analyze and arrange the concept of hair art, formative, a way of practical application, material aspect, through literature, academic journals, photo data, and researched about prior piece, for example, architecture and costume with hair art, and then pieces of hair art were made. Influenced by the theory, applied the social phenomenon and the formative principles, produced the five pieces which includes balance, composure, flying, harmony, way, spring etc. The results of this research are outlined below. Firstly, It showed that the copper wire can express the mysterious and beautiful formative world, and it could know the possibility of design. Secondly, formative activity using copper wire can differ according to approach and interpretation, and it can be a works with aesthetic value. Thirdly, hair could be express the art of the three-dimensional forms which constitute the mixture of line, surface and space. So, hair art has enlarged the fields with development of technique, and changed to recognition of the hair art, and opened up a new field. Hair art will be positive fields to maximize the possibility, and not only the beauty artist but also the public will be communicate each other.

• Journal of the Korean Society of Costume
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• v.50
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• pp.183-196
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• 2000

Andy Warhol is one of the great artists in the modern history of art who compares favorably with Picasso. His activities had his object on pervasion of a pop art and profit of the art industry. Many previous studies on his activities have attracted and held the attention of his works of art after 1960s. However in spite of his working as publisher of a fashion magazine fashion illustrator fashion model displayer and etc. in 1950s. there are few studies on his activities of 1950s. Hence this study investigates his works of art in 1950s. and intensively analyzes his effect on modern fashion. In 1950s, Andy Warhol had already been distinguished in works of art from other commercial designers through the illustration for advertising design window display of stores and usage of Hollywood stars as anessential element in his works for whom he had sighed when he was young His works were also characterized by a rejection of they originality of commercial arts. He had an great effect on youth's fashion in 1950s and has activities in 1950s had influence on the diffusion of the public punk fashion in 1970s and the street fashion in 1980s.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.35-45
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• 2012

As the importance of economic value of culture has increased, governments have set a strategy to secure national competitiveness through cultural art. One of concrete ways is establishing a cultural space by using idle facilities. This study aims to analyze publicness of Seoul Art Space, suggest ways to improve the facilities of creative space and provide basic date for the further plan of creative space. The object of this study is 8 facilities from Seoul Art Space which is operated by City of Seoul. Through literature review, we extracted 5 elements(each element has 4 sub categories) for publicness(accessibility, openness, convenience, historical connectivity and stay time) and to evaluates publicness of the Seoul Art Space, we analyzed these facilities based on these elements. The results are as follows: The publicness of Seoul Art Space acquired 96.9%(100% is 64 points) for stay time, 95.3% for convenience, 90.6% for accessibility, 73.4% for openness and 62.5% for historical connectivity. For the openness, we suggest to use glass materials and open the space to the public. To improve historical connectivity, we suggest to determine appropriate theme for a particular space or area and set a function of buildings for the differentiation.

• KIEAE Journal
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• v.14 no.5
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• pp.13-20
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• 2014

Museums have developed various needs of the visitors and exhibits over the past two centuries. Currently, they have multiple functions of display, conservation, research and public education about artworks and cultural events. Therefore, exhibits should be displayed in various ways so that visitors can feel inter-relations with exhibits. The exhibition areas of museums should be provided with the stable lighting environment for visitors and artworks. For the study, I selected four museums, which were the Seoul Museum, the Mimesis Art Museum, the Seoul Museum of Art in Nowon and the National Museum of Modern and Contemporary Art in Gwacheon, and I measured illumination levels of the selected Museums, and then, I surveyed the visitors' responses on the lighting conditions of them. According to the results, the measurements of the illumination levels in the four museums showed that the illumination levels of them were effectively controlled to display the art works. However, the illuminance levels at some areas that drew the natural light as lighting source were much higher than recommended illumination values for museum. In the mean time, the answers of questionnaires showed that the natural light were so effective to light the museums although the natural light provided some areas with high illumination levels.