Attitude Toward Exhibition Websites on Revisit Intention and Exhibition Participation

Daehui Lee,Murat Hancer 한국무역연구원 2010 무역연구 Vol.6 No.2

Exhibition websites are accessed by many potential exhibition visitors. Several characteristics of websites have been determined to influence viewer attitudes and to be decisive elements in shaping viewer intention to revisit a given exhibition website or visit the exhibition itself. This study examines these characteristics and how they influence viewers. A survey of five South Korean exhibition websites revealed that three significant website characteristics resulted in higher visitor numbers for an exhibition. These factors concerned Entertainment, Informativeness, and Trust. Entertainment and Trust factors significantly influenced customer intention to revisit exhibition websites. Moreover, the Entertainment and the Informativeness factors significantly influenced customer intention to participate in exhibitions. Lastly, customer intention to revisit exhibition websites positively influenced the intention of customers to participate in exhibitions. The results of this study provide strategies for organizing exhibition websites and increasing exhibition participation.

전시 기획의 법적 지위 정립을 위한 법적 개선방안 검토

박경신 한국정보법학회 2026 정보법학 Vol.30 No.1

Art exhibitions have evolved beyond the mere visual display of tangible objects, diversifying into diverse forms such as archiving exhibitions that visualize knowledge systems, research-based exhibitions that manifest the process of investigation within a space, and experiential exhibitions that invite the multisensory engagement of audiences. In this environment, exhibition curators is no longer a mere mediator who selects and arranges objects; instead, they have become the central agent of the exhibition—one who investigates fragmented records and media, integrates them organically within a spatio-temporal context, and designs the overarching narrative. However, the current legal framework remains confined to a promotion system centered on tangible objects fragmented by specific genre, failing to fully encompass the intangible narrative value created by exhibition curators. Furthermore, there are significant challenges in interpreting an entire exhibition as a subject of copyright protection under the current Copyright Act, despite it being the direct output of creative curating process. Accordingly, this study examines the protection gaps in exhibition curation, focusing on legal-systemic discontinuities and substantive legal limitations, and proposes measures to enhance the effectiveness of protection for exhibition curation through legislative consistency. To this end, this article argues for the explicit inclusion of “curating,” as a core process of creative expression within the category of culture and arts under the Culture and Arts Promotion Act. This article further proposes amendments to relevant laws to ensure that the legal status of exhibition curation, is substantiated in a manner consistent with the legislative purposes of individual statutes. In addition, this study suggests newly introducing definitions for “exhibition” and “artistic works” under the Copyright Act to secure rights over the outcomes of exhibition curation. While defining the concept of exhibition curation within the realm of cultural administrative law serves as a formal requirement to establish an independent status for policy-making and administrative support, the introduction of new provisions defining exhibitions and artistic works under copyright law constitutes a substantive requirement for finalizing exclusive rights.

PPA 기법을 통한 전시회 웹사이트의 특성 연구

신재기 한국관세학회 2009 관세학회지 Vol.10 No.1

This study is performed in order to contribute to the development of exhibition website by finding out influential features which enhance the quality of exhibition websites. The positions of each selected exhibition was examined though PPA(preference and participation analysis) and the second quadrant on the PPA matrix which represents high preference and low participation was focused in this research. In order to investigate particular reasons that affect high preference and low participation of exhibition participants, the four major factors of websites were used and influential features in exhibition websites were figured out. Based on the results of this study, Invention Patent Exhibition and Festive Gift Fair were highly preferred and lowly participated compared to other three exhibitions. After finding the second quadrant located exhibitions, the four website features such as trustworthiness, veracity, usefulness and convenience were investigated. The results indicated that the website of Invention Patent Exhibition showed low veracity compared to other three features and the website of Festive Gift Fair showed low convenience. Therefore, exhibition website managers should consider influential website features, especially, veracity and convenience of exhibition website information and service in order to enhance the quality of exhibition website features and increase exhibition participation.

국내 대형 미술관 전시 포스터 유형화와 수용자 반응에 미치는 영향 연구

정좋은,이창근 한국디자인트렌드학회 2025 한국디자인포럼 Vol.30 No.2

연구배경 본 연구는 국내 대형 미술관에서 활용되는 전시 포스터 디자인의 유형과 이를 통해 발현되는 시각 커뮤니케이션 효과를 총체적으로 분석하고자 시작되었다. 기존 미술관 전시 포스터에 대한 이론적 고찰과 현대 커뮤니케이션 모델을 검토함으로써, 포스터 디자인이 관람객 인식 및 반응에 미치는 영향에 대한 심도 있는 이해를 제공하고자 한다. 이를 통해 미술관이 보다 효과적인 홍보 전략을 수립하고, 문화예술 분야에서 전시 포스터가 지니는 가치를 극대화하는 데 기여하는 것을 목적으로 한다. 연구방법 먼저, 국내 대형 미술관 전시 포스터의 개념과 목적을 재정립하고, 선행연구를 토대로 크게 이미지강조형, 이미지연계형, 타이포그래피형, 이미지혼합형의 네 가지 디자인 유형을 분류하는 데서 출발하였다. 이후 문화체육관광부에서 제공하는 자료를 활용하여 선정된 대형 미술관 30곳의 전시 포스터 총 296점을 대상으로 지역별·전시 형태별 포스터 사용 실태와 유형 분포를 분석하였으며, 이를 통해 각 유형이 어떤 상황에서 주로 활용되는지 확인하였다. 또한 실제 관람객 200명을 대상으로 포스터 유형별 가시성, 주시성, 기억성, 조형성, 정확성, 시대성 등에 대한 인식을 설문조사하여 정량적 데이터를 확보하였다. 최종적으로 수집된 자료를 토대로 통계분석을 수행함으로써 네 가지 유형 각각의 효과와 특징을 보다 체계적으로 검증하였고, 이를 통해 전시 포스터 디자인이 관람객 반응에 미치는 영향과 시각 커뮤니케이션적 함의를 종합적으로 도출하였다. 연구결과 분석 결과, 전체 포스터 중 이미지강조형이 29.73%로 가장 높은 비중을 차지하였고, 그 뒤를 타이포그래피형(25.68%), 이미지연계형(23.99%), 이미지혼합형(20.61%) 순으로 따랐다. 지역별로는 서울과 전북에서의 포스터 사용량이 두드러졌는데, 이는 해당 지역의 문화 활동과 전시 홍보가 활발하게 이루어지고 있음을 시사한다. 전시 형태에 따른 유형 분포를 살펴보면, 초대 개인전에서는 전시 의도를 보다 직관적으로 전달하기 위해 이미지강조형과 이미지연계형이 많이 사용되었으며, 정보 전달이 중요한 기획 단체전에서는 타이포그래피형과 이미지혼합형이 선호되는 경향이 확인되었다. 한편, 관람객 200명을 대상으로 실시한 설문조사에서 이미지강조형은 가시성, 주시성, 기억성, 조형성 측면에서 높은 점수를 받았고, 타이포그래피형은 텍스트 구조적 배치와 메시지 명확성으로 긍정적인 평가를 얻었다. 이미지연계형은 복합적인 메시지를 통해 시대적·문화적 맥락을 효과적으로 반영한다는 점에서 시대성 부문에서 강점을 보이며, 이와 같은 결과를 종합하면 각 유형이 지닌 특성과 전시 목표를 적절히 결합할 때 시각 커뮤니케이션 효과가 극대화됨을 확인할 수 있다. 결론 본 연구는 국내 대형 미술관 전시 포스터의 디자인 유형이 관람객 반응 및 시각 커뮤니케이션 효과에 어떻게 기여하는지 분석함으로써, 미술관 홍보 전략 수립에 필요한 기초자료를 제공한다. 특히 전시 목적, 관람객 특성, 지역 문화적 요소를 종합적으로 고려할 때 각 유형이 지니는 장점을 극대화할 수 있음을 확인하였다. 나아가 문화예술 분야에서 포스터 디자인의 영향력과 가치가 지속적으로 확장될 것임을 시사하며, 이를 토대로 향후 더 세분화된 디자인 가이드라인과 실증 연구가 이루어질 수 있을 것으로 전망한다. Background This study was initiated to comprehensively analyze the design types of exhibition posters used in major art museums in Korea and their resulting visual communication effects. By examining existing theories on museum exhibition posters and applying contemporary communication models, the research aims to offer an in-depth understanding of how poster designs influence audience perception and response. Ultimately, the goal is to assist museums in developing more effective promotional strategies and to maximize the value of exhibition posters within the cultural and artistic sectors. Methods The research methods first redefined the concepts and purposes of exhibition posters in major domestic art museums, drawing on previous studies to classify poster designs into four types—Image-focused, Image-linked, Typography-focused, and Image-mixed. Subsequently, 296 posters from 30 major art museums, selected based on data from the Ministry of Culture, Sports, and Tourism, were analyzed to examine regional and exhibition-type usage patterns and distribution, thereby clarifying the contexts in which each design type is primarily employed. Additionally, a survey of 200 visitors was conducted to gather both quantitative data on how each poster type is perceived in terms of visibility, attention, memorability, formativeness, accuracy, and contemporariness. Finally, statistical analyses were carried out on the collected data to systematically verify the distinct effects and characteristics of the four design types, culminating in a comprehensive understanding of how exhibition poster design influences audience response and its broader visual communication implications. Result The analysis showed that Image-focused posters accounted for the highest proportion at 29.73%, followed by Typography-focused (25.68%), Image-linked (23.99%), and Image-mixed (20.61%). A regional comparison indicated notably active cultural activities and exhibition promotions in Seoul and Jeonbuk, reflected by their high usage of exhibition posters. When examined according to exhibition format, Image-focused and Image-linked designs were particularly prevalent in solo exhibitions aiming to convey the curatorial intent in a straightforward manner, whereas Typography-focused and Image-mixed posters were favored in group exhibitions where effective information delivery was essential. A subsequent survey of 200 visitors revealed that Image-focused posters received strong ratings in visibility, attention, memorability, and formativeness, while Typography-focused designs were recognized for their structurally arranged text and clarity of message. Image-linked posters demonstrated notable strengths in contemporariness, owing to their ability to incorporate complex messages reflecting broader cultural or temporal contexts. Collectively, these findings suggest that aligning each design type’s unique characteristics with the specific objectives of an exhibition can significantly enhance visual communication outcomes. Conclusion This study provides essential insights into how different exhibition poster design types can influence audience response and enhance visual communication in major domestic art museums. The findings underscore the importance of aligning poster design choices with exhibition objectives, target audiences, and regional cultural characteristics. Moreover, the growing impact and value of poster design in the cultural and arts sectors is highlighted, suggesting the need for further research into more detailed design guidelines and continued empirical validation.

전시업체 유형별 전시회 선택속성에 관한 연구

곽대영 ( Dae Young Kwak ) (사)한국마이스관광학회 2014 MICE관광연구 Vol.14 No.3

The objective of this study is to suggest useful directions for exhibitor attracting strategy of exhibition organizers through dividing the exhibitors who participated in the exhibitions, ``Electronics Manufacturing Korea 2014`` and ``The 29th Korea World Travel Fair``, into several groups by exhibition choice attribute, and comparing and analyzing the differences among the groups. To achieve the objective, as conceptual framework of the study, the literature on concept and effect of exhibition, and exhibitor``s exhibition choice attribute were reviewed, and the empirical study on exhibitors`` perception about exhibition choice attribute was conducted. According to the findings of this study, the following suggestions were presented to exhibition organizers. First, for the exhibitors belonging to the group1 named passive ``external factor`` pursuit type, exhibition organizers are needed to try to choice well known exhibition center and to promote exhibition actively through various mass media and to enhance their operation ability continuously. Second, for the exhibitors belonging to the group2 named ``sale activity factor`` pursuit type, exhibition organizers will have to set conditions in order to take place a lot of sales via exhibition. Third, for the exhibitors belonging to the group3 named active ‘choice attribute factor’ pursuit type, exhibition organizers will have to make preparations not just only for the conditions for the above 2 types but also for the conditions for remaining 2 choice attribute factors, which are ``internal factor`` related to marketing strategy and ``non sales activity factor`` relevant to various information gathering and distribution channel investigation.

A STUDY ON CUSTOMER SATISFACTION AND BRAND IMAGE BY FASHION EXHIBITION TYPE

Jaeyun Koh,Eunju Ko 글로벌지식마케팅경영학회 2015 Global Fashion Management Conference Vol.2015 No.06

Exhibitions are becoming a new important marketing tool in the fashion industry. Consumer’s interest in the haute couture and arts is increasing in parallel to the increase of the need of museums to attract visitors. While many fashion brands have been holding exhibitions, very few studies have investigated the effectiveness of exhibitions. This study aims to obtain practical implications which can be applied to further exhibition marketing processes. To this end, the main goals of this study are thus as follows: (1) to analyze the fashion exhibition cases by categories; and (2) to examine customer satisfaction by the fashion exhibition types and to determine how customer satisfaction affects the brand image. In order to classify the fashion exhibition types, a total of 160 cases held in the last five years in all over the world were collected and the range was set to the B2C fashion exhibition practices. For quantitative analysis of the customer recognition, the survey was distributed to total of 309 participants. Each of respondents evaluated three stimuli therefore the nine stimuli were respectively evaluated by 103 people. As a result of our analysis, nine types of fashion exhibitions were derived by two criteria, namely, (1) the main purpose of an exhibition and (2) the contents of an exhibition. Most fashion exhibitions are held with the goals of aesthetics, sociability, and remembrance. Exhibitions display various fashion products, such as apparel, shoes, bags, and jewellry, fashion photography, as well as various artistic media, such as video, drawings, and installation arts. The nine types of fashion exhibitions were used as a stimulus to quantitatively verify the effectiveness of fashion exhibitions. According to the results of the statistical analyses, customer satisfaction and brand image were significantly different in the fashion exhibition type but the exhibition type does not directly affect the brand image. This study provides a better understanding of the growing influence of factors on the fashion exhibitions and extends the limited research area by verifying the response of fashion exhibition visitors on the marketing level. Moreover, our results provide practical implications for fashion brands to establish successful exhibition marketing strategies.

한국무역전시산업의 경쟁국가간 경쟁력 비교분석 : 경쟁전시회를 중심으로

윤기관 한국무역연구원 2011 무역연구 Vol.7 No.1

This paper aims at presenting the some strategies and tactics in order that Korean global top brand exhibition candidates secure the best international competitiveness. In the paper, the author analyzed and compared the international competitiveness of Korean 4 field exhibitions with the similar international trade exhibition. As a result of this research, the author presented the following 3 strategies and tactics: 1)increasing international competitiveness of trade exhibition organizer, 2)creating trade exhibition hub in Asian region, and 3) improving trade exhibition and trade exhibition center in local area. And 4), the author insisted that the result of this research suggests the necessity of endowing Korean trade exhibition with the independent 'Standard Industry Classification Code" for raising up international competitiveness in Korean trade exhibition.

실감형 콘텐츠를 전시공간디자인에 접목한 사례 연구 -문화 및 집회시설의 사례를 중심으로-

강경묵 ( Kang Kyungmook ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.8

(Study Background) Cultural infrastructure actively deploys realistic content through the promotion of industry-university -research cooperation and development of ICT (information and communication technology) in both public and private sectors. Media content is developed around evolving digital content, and is increasingly becoming realistic as the virtual and real worlds converge in a variety of fields and spaces. (Method) The study method involved first examining the concept and types of realistic content through a literature survey. Second, it involved investigating the ratio of realistic content used to where it was not in the exhibition space. Third, the expected benefits of realistic content in each case were estimated. The study suggests the direction for use of realistic content in exhibition space design by the central government and local municipalities. Realistic content is considered the most suitable exhibition media for virtual reality (VR), augmented/mixed reality (AR/MR), hologram convergence, and media facade content in exhibitions. Therefore, this study limited its investigation to immersive types of realistic content. (Results) The exhibition space of the Ulsan Safety Experience Center consists of a 4D stereoscopic video hall, an AR earthquake disaster experience, and a 3D CG cinematic. The realistic content was produced with VR and AR for the exhibition, which accounted for 77.6% of the exhibition area on the third floor. The National Aviation Museum configured its exhibition space with experience-linked VR content, where realistic contents occupied 20.0% of the exhibition space. As exhibits at the Jeju Play K-Pop were planned for realistic content, they are mainly categorized into “Live 360,” which consists of 3D animation video media, and “Live Holo,” which is a hologram concert. The Dinosaur AR Experience Zone at the Gyeongnam Goseong Dinosaur Expo consists of the XR Dinosaur Live Park and the Safari Movie Theater. The exhibition media are produced with realistic VR and AR “killer” content for an application rate as high as 100%, meaning they cover the entire exhibition area. The National Ocean Science Museum has configured its exhibition space with a hanging VR simulator, 5D movie theater, and AR taking up half of the permanent exhibition hall on the third floor to make it easier to view marine and deep-sea life that are generally not easily accessible. The exhibition media are produced with VR and AR-based realistic content, and occupy a relatively high ratio of the exhibition area, at 30.0%. (Conclusions) An analysis of each case showed that realistic content is firmly established as the leading media content for the Fourth Industrial Revolution and that the exhibition state is organized of “killer” content. This analysis implies that more cultural infrastructure can be expected that features exhibition space with realistic content.

부산 전시산업현황과 활성화방안 연구

김동현(Kim, Dong-Hyun) 인제대학교 디자인연구소 2011 Journal of Integrated Design Research (JIDR) Vol.10 No.3

Exhibition industry is a pollution-free higher value-added business with the effect to enhance a local image. Busan is meditating the daring administrative, political and supports by suggesting the vision of jumping up to ‘2020 World’s 10 Top International Conference Cities’ on the basis of the natural tourist attraction whose geopolitical location, mountains, ocean and rivers are in harmony, Busan city’s volition to nurture the exhibition industry and the successful G20 Summit. Also, Busan city is building 2nd exhibition hall (20,000 m2) and an auditorium, a conference hall equipped with 4,000 seats-scale international standards with completion targeted for 2012 in a neighborhood of the existing BEXCO (2001) to meet the requirement for the internationalization and scale up of an exhibition. Despite the rapid growth of this facility infrastructure, it has developed in the data for research of this manuscript that the exhibition industry in Busan has many problems. The problems have appeared as the concentration phenomenon of the exhibition place, the disposition analysis mistakes for Busan exhibition visitors, exhibition planning companies which have the connection with Busan, brand exhibitions, lack of the general exhibitions, the unequal distribution of the role to the region-based professional supplier of exhibition and Busan convention & Visitor Bureau, the qualitative deterioration of the exhibition design, and the support policies of the exhibition industry which Busan city expects. What is the thing which should be decided first for revitalizing Busan exhibition industry which has these problems? It is the very ‘discovery of the brand exhibition specialized in the region’, Suggesting the methodology for this is the purpose of this article.

전시회 체험과 계획행동이론의 적용을 통한 참관객 행동에 대한 연구

강희래 한국이벤트컨벤션학회 2020 이벤트 컨벤션 연구 Vol.16 No.1

Purpose – Trade between countries has increased rapidly over the past few decades due to the internationalization of modern society, which it also led the evolution of the exhibition industry. As the exhibition industry evolves and expands in different forms, the scope of exhibition experience has also expanded. Therefore, studying exhibition attendees' experience and behavior are critical to keep pace with the industry changes. The aim of this study is to analyse the factors that affect exhibition attendees' behavior by using the TPB and exhibition experience variables. Research Design, data, and methodology – By carrying out the exploratory factor analysis, underlying factors of the TPB and exhibition experience variables were extracted. Using the extracted factors, multiple regressions were conducted. Also, Baron & Kenny(1986)'s 3-step regression approach was used for validating the mediation effect. Result – Among the TPB variables, only 'attitude' had a statistically significant relationship with the behavioral intention, and the exhibition experience factors were also found to have significant relationships with the behavioral intention. Furthermore, the mediating effects of 'attitude toward visiting exhibition' were proven to be significant on the relationships between the exhibition experience factors('educational experience', 'entertainment experience', 'escapist experience') and the behavioral intention. Conclusions – Exhibition marketers should consider providing positive entertainment and educational experiences as these are important factors that positively affect the revisit and recommendation intentions of the exhibition attendees.