대구지역 학생의 체력 및 정신건강

이순천(Soon-Cheon Lee),배영상(Young-Sang Bae),조연철(Yeun-Cheul Cho),김상홍(Sang-Hong Kim),이원재(Won-Jae Lee),김장환(Jang-Hwan Kim),박남환(Nam-Whan Park),김기진(Ki-Jin Kim),이성노(Seong-No Lee),이선장(Sun-Jang Lee),박상범(Sang-Bum P 한국체육과학회 1999 한국체육과학회지 Vol.8 No.1

이념을 위한 공공미술에서 공존을 위한 공공미술로 -한국 공공미술의 패러다임 변화-

김이순 ( Yi Soon Kim ),문혜영 ( Hye Young Moon ) 한국영상미디어협회 2014 예술과 미디어 Vol.13 No.1

본 논문은 지난 100여 년 동안 한국에서 전개된 공공미술을 세 유형으로 나누어 살펴보았다. 첫 번째 유형은 동상이나 모뉴멘트이다. 한국에는 1910년 즈음에 특정 인물을 기념하기 위해 인물의 초상을 동상으로 만들어 공적 공간에 세우는 개념이 일본을 통해 유입되었으며 1920년대에는 동상들이 공적 공간에 건립되기 시작했다. 근대기에는 대개 학교 설립자들의 동상이 학교 교내에 세워졌다. 해방 이후, 특히 한국전쟁 이후에는 애국선열들의 동상이 건립되었고 주로 전쟁 영웅들과 충혼탑들이 대대적으로 건립되었다. 전쟁 직후이면서 국가 정체성 확립기와 맞물리면서 전국에 기념조형물들이 권위적이고 계몽적인 형상으로 세워졌다. 두번째 유형은 환경조형물로, 1980년대에 ``건축물미술장식`` 제도가 법으로 도입되며 도시에 환경조형물들이 대거 등장하게 되었는데, 1986년과 88올림픽을 앞두고 도시를 아름답게 꾸미고 미술가들을 경제적으로 지원하고 창작의 기회를 제공하려는 데 목적이 있었다. 그러나 현재 환경조형물들은 주변 환경과의 컨텍스트 부재, 공공성의 실종, 건축주의 터무니없는 리베이트 관행 등으로 적잖은 문제점을 안고 있다. 건축주가 단순히 건축의 준공검사를 받기 위한 통과의례로서 작품을 설치하는 것이 아니라 진정으로 자신의 건축과 주변 환경에 어울리는 작품을 설치하고 작품을 보존 관리하는 적극적인 자세가 필요하다. 세 번째 유형으로는 공동체 기반의 공공미술로, ``환경조형물``이 갖고 있는 폐단을 극복하기 위해 진보적인 평론가들이 제시한 공공미술이다. 이는 수잔 레이시의 "New Genre Public Art"의 담론을 토대로, 오브제 중심의 미술품보다는 시민참여와 소통을 중심으로 한 공공미술이다. 아이러니컬하게도 이 유형은 시민이 ``공공미술``로 받아들이기 어려워하고 있다. 대표적 사례인 <안양공공예술프로젝트>의 경우, 170-80억의 기금이 소요되었지만 안양시민들의 참여는 매우 저조할 뿐만 아니라 이 프로젝트의 결과물을 유지하기 위해 너무 많은 비용이 들어가고 있다. 이 세 유형 중 어느 하나를 다른 것 보다 더 우월하고 가치 있거나 발전된 것으로 평가 내릴 수는 없다. 미술, 특히 일반 대중의 정서에 개입하는 공공미술은 각 시대마다의 사회적 산물로서 역사적 가치가 크기 때문이다. 본 연구에서는 한국에 공공미술이 도입된 이후 전개되었던 공공미술 패러다임의 변화와 함께 다양한 유형의 공공미술의 장점과 한계를 고찰함으로써 보다 의미 있는 공공미술을 구현하기 위한 토대를 마련하는 데 목적이 있다. This paper examined public art that was developed in Korea for the past 100 years into three types of category. The first category is a bronze statue and a monument. An idea of transforming the portrait to a bronze statue and constructing it in a public space to commemorate a specific person has brought into Korea in the 1910s; therefore, bronze statues started to erect in the 1920s. After the Korean War, bronze statues of the deceased patriots, mostly the monuments for the war heroes were extensively erected. The second category is an environmental sculpture as ``The Art Work Policy for Buildings`` was introduced by law, environmental sculptures greatly appeared in the city. However, current environmental sculptures have more than a few numbers of drawback such as absence in the context, disappearance of the public, and an exorbitant rebate practice of the building owner. The third category is a public art based on the community; this is a public art in which liberal critics have proposed to overcome the indictment that environmental sculptures possess. This is a public art focusing communication and participation of the citizens, ironically citizens are having difficulty accepting this category as a ``public art.`` Of the three categories above, no assessment can be made that one is more superior, valued, or developed than the other. A purpose of this study is to offer a foundation for materializing a meaningful public art, by examining pros and cons of various categories as well as paradigm shift in public art that was developed after it was introduced in Korea.

한국 근대의 ‘자연주의적’ 풍경화에 나타난 이중성

金伊順(Kim Yisoon) 미술사연구회 2013 미술사연구 Vol.- No.27

Landscape painting in the Western sense emerged in Korea together with the introduction of new media such as oil and watercolour. Paintings that involved taking one’s equipment out into nature and painting scenes through direct observation were able to vividly incorporate natural light and the emotions felt by the artist her/himself in nature, things that were absent from traditional East Asian Sansuhwa (landscape painting). Such modern landscape paintings are generally categorized as Impressionism. Oh Chiho and Kim Chu-keung are cited as leading artists of the genre, with their landscape paintings interpreted as embodiments of nationalist consciousness. This study, however, questions that perspective. Although the landscapes of Oh and Kim do bear a degree of similarity to Western Impressionist works in their expression of light and their divided brush strokes, they show differences in terms of subject and content. Taking them to be expressions of nationalist consciousness or resistance on the part of their artists, in particular, appears to strain the bounds of credulity. Oh did attempt to express Korea’s pure, bright air and nature, and Kim did once say, “The people of Korea knew Korea well and expressed the Korean ‘mind,’” but this cannot be taken in isolation from the fact that Japanese judges at the Joseon Art Exhibition held annually during the period of Japan’s colonial occupation of Korea demanded that participating artists paint “the unique nature of Korea” or emphasized the need to “paint clearly the bright mountains and streams of Korea.” Attempts to express the sentiment and mood of the Korean people through the country’s nature actually share common points with Okakura Kakuzo’s view of nature, which located the basis of East Asian thought in nature rather than humans. Such attempts also fall under the field of influence of the type of “naturalist” landscape painting aimed for by Kuroda Seiki and Fujishima Takeji, and overlap with the expressions of Korean local colour demanded by Japanese imperial authorities.

1910년대 心田 安中植의 실경산수화에 나타난 근대성

金伊順(Kim Yisoon) 미술사연구회 2016 미술사연구 Vol.- No.30

An Jung-sik was the last official court painter of the Joseon period and has generally been regarded an artist who saw out the last years of Joseon painting while producing works commissioned by clients. This study considers regarding An as a modern artist, based on Yeonggwang punggyeong and Baegak chunhyo, two true-view landscape works he produced in 1915. Earlier, in 1881, An was sent by the Korean government to Tianjin as yeongseonsa, a type of envoy dispatched to learn about new forms of culture. He subsequently made trips to Shanghai in 1891 and 1899 and was active in Japan for approximately two years around 1900: as a result, he would have come into contact with new culture and art that was hard to find in Korea at the time. Since, however, most of An’s extant works are gimyeong jeoljido(a type of still life with dishes and cut flowers), doseok inmulhwa(paintings depicting immortals, Buddhas or eminent monks), noando(paintings of reeds and geese) or idealized landscapes, all of which are strongly auspicious in nature, it has been hard to find any trace of modern influence resulting from his encounters with new culture. This study investigates the extent to which Yeonggwang punggyeong and Baegak chunhyo, hitherto regarded without much interest as mere true-view landscapes, really belong in this category. Until now, there has been no photograph of the area depicted in Yeonggwang punggyeong to compare with the painting, but an investigation of the actual location, Chehwajeong Pavilion, established that An painted the village as it appeared before him. He did not, however, paint this actual view using the kind of mechanical perspective offered by a camera; rather, the artist placed the house of the client who had commissioned the work in the center of his composition and surrounded it with other geographic features, out of consideration for the client. Meanwhile, Baegak chunhyo uses a one-point perspective technique to depict Gwanghwamun Gate, Gyeongbokgung Palace and Mt. Bugaksan as seen from Gwanghwamun Square. Though the way An shrinks the actual view to fit the major axis on his canvas is somewhat awkward, the realistic depiction of the scene is more specific than anything found in other contemporary works. This depiction probably used a photograph widely available at the time. While the visual accuracy of Baegak chunhyo is modern in character, the work can be interpreted as containing An’s regret at witnessing the ruin of Gyeongbokgung during the Japanese colonial period, and his desire to see it restored. It follows that Yeonggwang punggyeong and Baegak chunhyo show modernistic elements in that they realistically reproduce scenes observed directly by the artist, rather than containing idealized styles or auspicious meaning. Meanwhile, though it has so far been thought that Baegak chunhyo was commissioned by the Joseon royal family or the Japanese Government-General, this paper suggests the possibility that it was commissioned by a third person or produced by the personal choice of the artist as an expression of his sorrow at seeing Gyeongbokgung Palace fall into ruin.

노인의 근골격계 특성에 적합한 기공운동 개발을 위한 기초연구

김이순,이정원,김경철,박태섭,곽이섭,이해웅,Kim, Yi Soon,Lee, Jeong Won,Kim, Gyeong Cheol,Park, Tae Soeb,Kwak, Yi Sub,Lee, Hai-Woong 대한예방한의학회 2014 대한예방한의학회지 Vol.18 No.2

Objective : The objective of this study is to develop a Qigong exercise program to reinforce musculoskeletal system of seniors appropriate for physical strength and conditions of seniors aged 65 years or above based on health Qigong exercise of oriental medicine. Method : Qigong exercise motions that can improve strength, muscular endurance, flexibility, and cardiovascular endurance of seniors were developed by primarily performing literature review of Qigong experts on the fields like oriental medicine, Qigong exercise, physical education and health science and secondarily using motion training for increased validity of motions. Results : The Qigong exercise program for musculoskeletal system of seniors was designed with 12 motions repeated 8 times and 20 minutes per session, including shoulder exercises (alternate turning of left and right shoulders, turning both arms back and forth, holding and lifting elbow to put it aside), waist exercises (wrapping the head with hands to bow, twisting waist while looking at the tip of hand, large spinning of ball, putting hands together to pull back), and knee exercises (going up a down while lifting a rock, balancing the body while lifting a knee, lifting and spreading knees while drawing circle with arms, raising both arms to the side while lifting heels, breathing). Conclusion : Once the effects of Qigong exercise for musculoskeletal system of seniors developed in this study are tested, the program is expected to contribute to development of Qigong exercise, a core part of oriental medicine health improvement project.

1930~1950년대 한국의 모자상 : 젖먹이는 이미지를 중심으로

金伊順(Kim Yisoon) 미술사연구회 2006 미술사연구 Vol.- No.20

This study aims at exploring social expectations toward women focusing on the image of breastfeeding from the 1930s to the 1950s. There are many statues of mother and child around us. While the history of the image in the West originated from the ancient Egypt, the history in Korea is not long. As it emerged in official art exhibitions such as the Joseon Art Exhibition in the 1930s, when the Western arts took root in the Korean arts circle, the image came to represent one of the images of women. As the image of the mother and child was a popular theme in the Japanese arts circle, we cannot overlook its impact on the Korean arts. However, the image reveals the motherhood ideology demanded for women during the Japanese colony. In particular, the image of the mother breastfeeding her child, popular in all times and places, is the image of fixing a woman as a mother, which can be seen from a negative perspective as it limits women’s role as giving a birth to and raising children. However, this study does not intend to interpret the image of mother and child by applying the general theory on the motherhood but to identify the background for its creation and distribution in Korea by considering circumstances from the 1930s to the 1950s. The images of the mother breastfeeding her child, produced during the Japanese colony, gained attention from scholars, as they represented the role of women in the colonial period. In particular, the images produced in the late 1930s were interpreted as arts reflecting the political background at the time, or an image of the ‘patriotic mother’ who gave a birth to and raise healthy children who were required to fight in a war during the colonial period. Different from such a perspective, the image is interpreted, in this study, as an image of emphasizing the motherhood with sacrifice, devotion, and affection, which the nation demanded for women against the ‘abnormal’ national situation caused by the Japanese colony. This study starts with a brief description of the meaning of the image of breastfeeding in the Western arts based on the times, and the origin of the image of mother and child in Korea is discussed with its production and background. Then, the image in the 1930s and 1940s is explored, which is classified into two groups: one representing low-income families and the other representing middle-income families. In particular, the image of the mother breastfeeding her child in the second category is interpreted as reflecting the characteristics of the period, which became conservative with the worsening condition of the Japanese colony. In the exploration of the image of the mother breastfeeding her child in the 1950s, the focus is on which areas it is similar to or different from that in the 1930s and 1940s. Also, this study proves that motherhood ideology, formed in the ‘abnormal period’ from the 1930s to the 1950s, is still effective by exploring the image of the mother and child, which was the most popular theme for the section of sculptures in the Grand Art Exhibition of Korea in the 1960s and 1970s, and which we often see in front of public space.

한국전쟁과 가족 이미지: 가족해체와 복원의 사이

김이순(Kim Yi-soon) 미술사연구회 2005 미술사연구 Vol.- No.19

昌陵의 왕과 왕후 능의 위치 再考

김이순(Kim Yisoon) 한국미술사학회 2010 美術史學硏究 Vol.267 No.267

역설과 저항의 미학 - 이승택의 ‘비조각’ -

김이순 ( Kim Yisoon ) 한국영상미디어협회 예술과미디어학회 2020 예술과 미디어 Vol.19 No.2

이 글은 조각가 이승택의 ‘비조각’을 재료, 기법, 개념의 측면에서 고찰한 것이다. 일찍이 기성의 것에 대한 저항의식을 갖고 있던 이승택은 조각개념에 거스르는 작업을 했고 이를 ‘비조각’으로 통칭했다. 최근 미술계에서는 이승택에 주목하여 그의 평면작업이나 퍼포먼스조차도 ‘비조각’으로 설명하고 있다. 그러나 작가 스스로 ‘비조각’을 ‘조각이 아닌 조각’이라고 설명했기 때문에 그의 ‘비조각’을 ‘조각’ 장르의 차원에서 논의할 필요가 있다. 본고에서는 이승택의 ‘비조각’ 작품을 통해 그가 어떻게 ‘조각’ 개념을 해체하면서 전위성을 모색했는지를 살펴본다. 이승택은 오지, 유리, 비닐, 바람, 불과 같은 뜻밖의 재료로 ‘비조각’을 구현했다. 그중에서도 가장 획기적인 표현재료는 바람과 불 같이 비가시적이거나 유동적인 물질인데, 자신의 작품에 기름을 붓고 불을 질러 태워 없애는 <분신행위>에서는 피어오르는 불꽃과 연기, 그리고 열기, 소리, 냄새까지 작품에 포함시켰다. 기법적으로는 조각작품을 살붙이기나 깎기가 아닌 ‘묶기’의 방법으로 제작했으며, 나아가 미술작품은 미술관에서 영원히 보존되어야 한다는 개념을 거부했다. 1958년 대학졸업전에 출품한 <역사와 시간>에서는 표면에 가시철망을 감은 작품을 출품하였고, 그 이후 여성 인체, 도자기, 화강암 덩어리, 나뭇가지, 각목, 파이프, 책, 캔버스, 지폐, 헌옷 등을 실제로 혹은 착시적으로 감거나 묶는 방식으로 사물의 물성에 대한 반전을 보여줌으로써 인간의 시각, 즉 눈으로 보는 것에 대한 믿음에 대한 존재론적(存在論的)인 물음을 던졌다. ‘비조각’의 양상은 이승택이 일찍부터 주력했던 영역인 사진 작업에서도 찾을 수 있다. 그는 자신의 실험적인 작품을 기록하기 위해 사진을 촬영했으며, 때로는 특정 장소나 소재를 선택하여 촬영하기도 했다. 후자의 경우, 뒤샹이 소변기를 선택하여 서명하고 전시회에 출품함으로써 기성의 소변기를 자신의 작품으로 만들었듯이, 제작 과정이 거의 없거나 약간의 개입만으로 대상을 작품으로 만들었다는 점에서 이를 ‘장소적 레디메이드’라고 할 수 있으며 개념적으로 ‘비조각’을 실현한 것이라고 볼 수 있다. 이승택은 ‘비조각’이라는, 고정된 형태가 없는 조각을 제작했고, 나아가 소리, 냄새 같은 비가시적인 요소까지 조각에 담았으며, 이런 작업을 통해 우리의 감각과 상식에 충격을 가하면서 우리의 인식을 확장했다. This paper examines Lee Seung-taek’s ‘non-sculpture’ in terms of materials, techniques, and concepts. Lee sought for new materials in all respects, and he represented ‘non-sculpture’ with unexpected materials. One of the most innovative materials was fire from Self-Burning Performance in 1989. It was a kind of performance art which burns and destroys Lee’s self-portraits along with his other own work, known as ‘the other self.’ A flame, smoke, heat, sound, and smell were the elements that formed while he poured gas over and set a fire on his own work. In the end, it is Lee’s resistance of the conventional system or notion that artwork should be preserved permanently in art museums. Lee has been producing sculptures mainly by tying rather than carving or modeling. In 1958 Lee presented his work, History and Time with barbed wires, wrapped around the surface. Then he used female body, earthenware, book, canvas, bill, old clothing and more to bind, and they all were about ontologistic question. Lee’s interest in photography led him to select place then create photographic artwork. These works can be identified as ‘site ready-made,’ because it has little or no process of production, just as Duchamp made a ready-made urinal into his own work by selecting and signing the urinal and submitting it to the exhibition. Through ‘non-sculpture’, he formed artwork without a fixed form, expressed invisible elements such as sound and smell, and expanded our perception by impacting our senses and common sense.

성인자녀가 지각한 부모 문제음주가 인터넷 과다사용 문제에 미치는 영향: 타인중심도식과 우울의 매개효과

김이순(Kim, YiSoon),이문희(Lee, MunHee) 한국재활심리학회 2021 재활심리연구 Vol.28 No.2

본 연구는 부모 문제음주와 성인자녀의 인터넷 과다사용 문제와의 관계에서 타인중심도식과 우울의 매개효과를 검증하였다. 이를 위해, 성인 남녀 250명을 대상으로 알코올 자녀 선별 척도, 한국형 성인 인터넷 중독 자기보고형 척도, 타인중심도식 척도, 우울 척도를 실시하였다. 자료 분석은 신뢰도 분석, 기술 통계분석, 상관 분석, 측정모형 분석, 구조모형 분석을 실시하였다. 본 연구 결과는 다음과 같다. 첫째, 부모 문제음주는 타인중심도식, 우울, 성인자녀의 인터넷 과다사용 간에 모두 유의미한 정적 상관을 보였다. 둘째, 부모 문제음주와 성인자녀의 인터넷 과다사용 간의 관계에서 타인중심도식은 부분매개효과를 보였다. 셋째, 부모 문제음주와 성인자녀의 인터넷 과다사용 간의 관계에서 우울의 매개효과는 유의하지 않았다. 넷째, 부모 문제음주와 성인자녀의 인터넷 과다사용 간의 관계에서 타인중심도식과 우울이 순차적으로 매개하였다. 마지막으로 본 연구의 의의와 한계를 논의하였으며 추후 연구에서 필요한 시사점을 제안하였다. This study examined the mediating effects of other directedness schema and depression in the relationship between parent problem drinking and Internet overuse. A total of 250 adults (XYZ male and XYZ female) in South Korea completed the questionnaire assessing children of alcoholic screening, internet addiction proneness, other directedness schema, and depression. Data analysis was conducted to perform reliability analysis, descriptive statistical analysis, correlation analysis, and structural model analysis. The results included: (a) parental problem drinking was significantly and positively correlated with other-directedness schema, depression, and internet overuse: (b) other-directedness schema partially mediated the relationship between parental problem drinking and internet overuse: (c) depression did not mediate the relationship between parental drinking problem and internet overuse: and (d) the pathway between parental problem drinking and internet overuse was sequentially mediated by other-directedness schema and depression. Limitations of the study and implications for future research are discussed.