융합의 지형도 그리기

김형숙(Kim, Hyungsook) 한국미술교육학회 2012 美術敎育論叢 Vol.26 No.2

In the educational circles of South Korea. where convergent, consilient, and interdisciplinary research has become the issue of the day. the development of convergence education programs may be seen as the most actively discussed topic in both the academia and the field. However, while interest in the fostering of convergent and talented people has led to active discussions in science and technology, nuanced discussions on diverse levels such as the convergence of artistic genres, art and the humanities, art and science/technology, humanities and science/technology have yet to occur. The diverse areas of arts and technologies could be demonstrated by the convergence of sense and technologies. This convergence between sense and techniques are explained as the convergence of the use of new media, artistic techniques. and the process of creation. The convergence of arts and technologies brought about the shifts of teaching and learning methods. The sifts of these meant that the process of cognition, convergence education of teaching and learning. self-voluntariness of project learning, ICT education. Therefore. the purpose of this study lies in meeting the interest in and demand for science, technology, engineering, arts, mathematics (STEAM) convergence education at home and abroad and developing convergence education programs based on project learning that makes use of information and communication technology (ICT). Therefore, this study first examines the theoretical basis of project learning as discussed in constructivist theory and then addresses the characteristics of and educational discussions on project learning that makes use of ICT. Second. it proposes operation and development plans for the development of art and science convergence education programs. Through such examinations. the present study discusses the educational effect of ICT-based project learning on convergence education programs. It seeks to prove that visual arts education is not education merely for learners' functions and expressive techniques but a program to develop their exploratory processes, problem-solving abilities. voluntariness and activeness. and high-level cognitive abilities. 융합, 통섭, 학제간 연구와 교육의 상관성은 과연 무엇인가? 국내 교육계에서 논의 되는 이러한 이슈는 융합인재교육과정 개발에 대한 관심으로 학계에서냐 교육현장에서 가장 많이 다루어지고 있다. 융합형 인재 양성에 대한 관심이 과학과 기술 영역에서부터 활발하게 논의되고 있지만, 예술 장르간 융합, 예술과 인문학간의 융합, 예술과 과학기술간의 융합, 인문학과 과학기술간의 융합 등 다양한 층위에 대한 논의는 아직까지 정치(精微)하게 이루어지지는 못하고 있다. 따라서 본 연구에서는 융합인재교육 (STEAM)에 대한 국내·외적 관심과 요구에 부응하여 ICT (Information & Communication Technology)를 활용한 프로젝트 학습에 토대를 둔 융합인재 교육과정을 개발하는데 그 목적을 둔다. 이 연구에서는 융합의 지형도 그리기를 학습자의 인지적 측면과 융합인재교육과정 개발의 측면에서 다루고자 한다. 따라서 본고는 첫째, 구성주의 이론에서 논의되고 있는 프로젝트 학습의 이론적 토대에 관해 고찰해보고, 둘째 ICT 활용의 프로젝트학습의 특성과 교육적 논의에 관해 다룬다. 그리고 미술과 과학의 융합교육과정 개발을 위한 발전방향을 제안한다. 이러한 고찰을 통해 ICT 기반의 프로젝트 학습이 융합인재교육과정에 미치는 교육적 성과에 관해 논의한다. 미술교육이 단순히 학습자의 기능과 표현기술을 위한 교육이 아니라, 학습자의 탐구과정, 문제해결력, 자발성과 능동성, 고차원적 사고능력을 함양하게 되어 여러 지식의 법주를 넘나들며 연결 짓고 자아성찰의 과정을 통하여 학습자의 인식의 지평을 확장하는 과정임을 밝히고자 한다.

대학교육과정 분석을 통한 미적소양교육의 재개념화

김형숙(Hyungsook Kim) 한국미술교육학회 2010 美術敎育論叢 Vol.24 No.1

미적소양교육은 대학교양교육에서 학습자가 세계를 비평적으로 이해하는 사고를 배양하고 예술 및 문화의식을 함양하는데 중요한 역할을 한다. 본 연구는 대학교양교육에서 미적소양교육의 재개념화(再槪念化)를 위하여 미국대학을 중심으로 교양교육의 전개 양상을 살펴보고 우리나라 교양교육에의 시사점을 논의하는데 그 목적이 있다. 따라서 첫째, 본 연구에서는 교양교육의 역사적 전개과정 속에서 함유된 자유교육 정신과 학습자의 삶을 둘러싼 시각 이미지들을 읽는 능력을 기를 수 있는 미적소양교육의 의미, 그리고 이를 구체적으로 실현할 수 있는 학제간 연구 방법론에 대한 이론적 고찰을 행한다. 둘째, 미국의 주요 대학에서 실행되고 있는 미적소양교육을 사례연구를 통해 살펴봄으로 해서, 우리나라 대학의 교양교육에서 미적소양교육의 가치를 발견하고 적용 가능성을 논의하였다. 유럽대학에서는 전통적 교양주의를 넘어서 전문교육으로 전환한데 반해, 미국대학은 교양교육에서 자유교육 정신을 고수하면서 전문교육은 전문대학원에서 행하는 대학교육의 구조를 유지하고 있기 때문이다. 셋째, 본 연구는 대학의 교양교육의 분석을 통해서 미적소양 교육이 시각적 문해력을 향상시키는 능력을 함양하고 학습자가 처한 세계를 비평적 관점에서 바라볼 수 있는 시민을 양성할수 있는 중요한 영역임을 주장하고, 미적소양 교육에서 타 분야와의 학제간 접근, 체험교육의 확대, 주제중심의 탐구 방법 등이 시각적 문해력을 함양할 수 있도록 미적소양 교육을 재개념화한다. 본 연구에서 논의하는 미적소양교육은 미술을 전공하지 않는 학생들을 대상으로 연구의 범위를 한정하였다. 따라서 대학교육에서 미적소양교육이 시각적 문해력을 향상시키는 가치를 발굴하고, 학습자가 비평적 관점으로 세계를 바라볼수 있는 시민으로 성장할 수 있도록 대학의 교육적 기능에 관해 조명했다는 점에서 본 연구의 중요성이 있다. As part of liberal education courses at university, art education about aesthetic attainments enables students to develop critical thinking about the outside world and cultivate artistic and cultural consciousness. With the aim of redefining education aimed at cultivation of aesthetic attainments as part of university's liberal education, this study investigates the progress of liberal education particularly in U.`S. universities and ponders on its implications for liberal education at South Korean universities. Departing from conventional concept of liberal education, European universities already transformed their liberal education curriculum into specialized courses, whereas most universities in the U.S. still adhere to the spirit of traditional liberal education while running specialized courses at professional graduate school. This study contemplates, from theoretical viewpoints, the spirit of liberal education mirrored in the history of liberal education courses, the meaning of education about aesthetic attainments for perceiving visual images surrounding students' lives, and interdisciplinary research methods for practical implementation. Against this backdrop, it also performs some case studies of progress status of education courses on aesthetic attainments currently available at prestigious U.S. universities, thereby exploring the value of art education on aesthetic attainments and its significant implications for South Korean universities. Such analysis of liberal education courses at university demonstrates that education on aesthetic attainments plays a pivotal role in nurturing citizens with critical mindset regarding the outside world by improving students' visual literacy. Moreover, it shows that interdisciplinary approach, expansion of hands-on education programs, and theme-based research methods can act as a crucial methodology for learners to acquire visual literacy from those education courses related to cultivation of aesthetic attainments. Art education on aesthetic attainments herein is only confined to those students not majoring in the fine arts, thus excluding those courses on aesthetic attainments for those students with a major in the fine arts. In conclusion, this study unlocks the value of education on aesthetic attainments to improve students' visual literacy and sheds light on its educational functions as part of university curriculum to foster students into citizens with critical perspective during the prevalence of visual culture.

박물관ㆍ미술관 연구의 실태와 과제

김형숙(Hyungsook Kim) 한국예술경영학회 2005 예술경영연구 Vol.8 No.-

This paper investigates research methods and trends on museums in Korea as well as the West in order to revitalization museum movements in Korea. First, the study on museums in the West are discussed focusing on research of museum history, exhibitions, education, marketing, policy. The achievements of David Murray and Alma Wittlin, and Germain Bazin are examined in relation to traditional research method of museum history. While, Eilean Hooper-Greenhill’s study is focused on critical history of museums. Additionally, the discourses on gallery space and exhibitions in modern museums as well as postmodern museums are examined. Learning in museums are discussed in relation to communication and education theory. Second, the studies on museums in Korea are discussed in terms of research fields, institutions since 1970s. Finally, we finds that the research on museums in Korea has the limitation of adopting and introducing the theory and practices of the West. Keen analysis and investigation on museums are not in Korean situation. Since the short history of study on museums, the researches adopted to Korean own environment are not sufficient.

예술과 환경의 접점에서 지속가능발전교육의 가능성 탐색

김형숙 ( Kim Hyungsook ) 한국예술교육학회 2018 예술교육연구 Vol.16 No.3

우리가 살고 있는 지구라는 공동체에 대한 책임감에 대한 인식은 환경적, 사회적, 경제적 문제를 다루는 지속가능발전교육(Education for Sustainable Development)과 그 맥을 같이하는데, 이것은 근대사회가 추구하였던 물질적 성장과 발전을 반성하고 인간의 삶을 질적으로 개선할 뿐만 아니라, 지구의 영속적 발전을 위한 지속가능성에 의미를 두고 있다. 본 연구는 환경에 대해 관심을 가지고 예술적 실험을 실천한 미술가들의 활동을 고찰하여 지속가능발전교육이 미술교육현장에 시사하는 바를 도출하는데 그 목적이 있다. 이를 위해 환경에 대한 문제를 환기시키는 장소 특정적(site-specific) 예술실천과 장소기반 미술교육(place-based art education)을 사례로 들어 논의한다. 따라서 본고에서는 첫째, 지속가능발전교육의 의미와 예술교육의 관련성을 문헌을 중심으로 다룬다. 둘째, ≪철암그리기≫와 ≪DMZ 프로젝트≫의 예술적 실천을 장소 특정적 예술과 장소기반 미술교육의 관점에서 논의하고, 이를 통해 환경과 사회, 그리고 정치의 문제들이 예술적 실천 속에 어떻게 드러났는지 살펴본다. 마지막으로 환경과 예술의 지속가능발전교육의 교육적 함의를 도출하기 위하여 우리나라 미술교육현장에서의 교사의 인식들을 조사하고 이에 따른 미술교육 현장에의 적용가능성을 논의한다. 결론적으로 이 연구는 미술을 통한 지속가능발전교육이 학습자에게 사회, 정치, 문화적 맥락으로 세계를 바라보는 시각을 형성하고, 학습자가 처한 장소와 환경에서 삶의 실재성을 확인하는 체험을 제공함을 밝힌다. The purpose of this study is to examine how an interest in the environment and art leads to artistic practice and what implications it may have on art education. The significance of education for sustainable development is explored through the Cheolam Public Project and Cheorwon DMZ Project, and possible applications to arts education are considered. First, this study discusses the meaning of education for sustainable development and its relationship to arts education. Second, this study focuses on two case studies: the Cheolam Public Project, which has been sustained for more than 10 years, and the Cheorwon DMZ Project. Based on the two art projects, this study determines whether issues such as the environment, society, and politics have been dealt with in artistic practice, and it discusses the implications of such sustainable efforts for arts education. Furthermore, a survey was conducted on 63 art teachers to investigate their awareness of art education for sustainable development. The fact that case studies on education for sustainable development through the arts focuses on the environment shows that arts education has a role to play in creating a democratic society and promoting social reconstruction. Through site-specific arts and place-based art education, students can experience social communication and explore the meaning of community. The creation of site-specific art and place-based art education in the environment will be a platform for cultural criticism and exchange while fulfilling an educational function. The significance of arts education lies in enabling learners to discover the value of sustainable development through site-specific art and educational activities, and promoting mutual communication to create meaning.

비대면 공연예술분야 활성화를 위한 문화산업 원천기술 활용방안

김형숙 ( Kim Hyungsook ) 한국예술교육학회 2021 예술교육연구 Vol.19 No.2

본 연구는 최근 코로나19의 장기화에 따른 다양한 공연예술 제공을 위해 문화원천기술을 연결하여 비대면 환경에서 사회적 소통을 위한 플랫폼으로 활용하고 서비스 가능하도록 하는 데 목적이 있다. 이를 위해 핵심 공연예술 트렌드 분석을 통해 관련 핵심기술을 도출하고 다양한 공연예술 분야에서 활용할 수 있는 핵심 플랫폼으로서 다양한 비대면 공연예술 서비스를 제안하고자 한다. 이를 통해 팬데믹의 장기화에 따른 사람들의 사회적인 소통의 단절에 따른 정신건강 문제를 해결하고, 비대면 환경에서 공연예술을 지속해서 접근할 수 있는 새로운 문화산업으로서의 구체적 방안을 제시하고자 한다. 또한 공연예술분야가 새로운 문화산업으로서 부가가치를 창출하고, 일자리 창출을 통해 새로운 공연예술 활성화를 위한 지속적 생태계를 구축할 수 있을 것으로 판단된다. The purpose of this study is to connect the original technologies of the cultural industry to provide various performing arts (music, dance, exhibition, etc.) under the recent prolonged period of the Covid19 pandemic and use it as a platform service for social communication in a untact environment. To this end, we intend to derive related original technologies through analysis of core performing arts trends and propose a variety of untact performing arts services as a core platform that can be used in various performing arts fields. Through this, it is intended to solve the mental health problem caused by the disconnection of social communication among people due to the prolonged pandemic and to present a concrete plan as a new cultural industry that allows continuous access to performing arts in a untact environment. In addition, the performing arts field is expected to create added value as a new cultural industry and establish a sustainable ecosystem for revitalizing the new performing arts industry through job creation.

미술을 통한 지속가능발전교육의 가능성 탐색

김형숙(Kim, Hyungsook) 한국미술교육학회 2015 美術敎育論叢 Vol.29 No.4

우리가 살고 있는 지구라는 공동체에 대한 책임감을 바탕으로 하여 환경적, 사회적, 경제적 문제를 다루는 지속가능발전교육(Education for Sustainable Development)은 근대사회가 추구하였던 물질적 성장과 발전을 반성하고 인간의 삶을 질적으로 개선할 뿐만 아니라, 지구의 영속적 발전을 위한 지속가능성에 의미를 두고 있다. 본 연구는 환경에 대해 관심을 가지고 예술적 실험을 실천한 미술가들의 활동을 고찰하여 지속가능발전교육이 미술교육현장에 시사 하는 바를 도출하는데 그 목적이 있다. 이를위해 장소 특정적(site-specific) 예술실천과 장소기반 미술교육(place-based art education)을 사례로 들어 논의한다. 따라서 본고에서는 첫째, 지속가능발전교육의 의미와 예술교육의 관련성을 문헌을 중심으로 다룬다. 둘째, ≪철암그리기≫와 ≪DMZ 프로젝트≫의 예술적 실천을 장소 특정적 예술과 장소기반 미술교육의 관점에서 논의하고, 이를 통해 환경과 사회, 그리고 정치의 문제들이 예술적 실천 속에 어떻게 드러났는지 살펴본다. 마지막으로 환경과 예술의 지속가능발전교육의 교육적 함의를 도출하기 위하여 우리나라 미술교육현장에서의 교사의 인식들을 조사하고 이에 따른 미술교육 현장에의 적용가능성을 논의한다. 결론적으로 이 연구는 미술을 통한 지속가능발전교육이 학습자에게 사회, 정치, 문화적 맥락으로 세계를 바라보는 시각을 형성하고, 학습자가 처한 장소와 환경에서 삶의 실재성을 확인하는 체험을 제공함을 밝힌다 The purpose of this study is to examine how an interest in the environment and art leads to artistic practice and what implications it may have on art education. The significance of education for sustainable development is explored through the Cheolam Public Project and Cheorwon DMZ Project, and possible applications to arts education are considered. First, this study discusses the meaning of education for sustainable development and its relationship to arts education. Second, this study focuses on two case studies: the Cheolam Public Project, which has been sustained for more than 10 years, and the Cheorwon DMZ Project. Based on the two art projects, this study determines whether issues such as the environment, society, and politics have been dealt with in artistic practice, and it discusses the implications of such sustainable efforts for arts education. Furthermore, a survey was conducted on 63 art teachers to investigate their awareness of art education for sustainable development. The fact that case studies on education for sustainable development through the arts focuses on the environment shows that arts education has a role to play in creating a democratic society and promoting social reconstruction. Through site-specific arts and place-based art education, students can experience social communication and explore the meaning of community. The creation of site-specific art and place-based art education in the environment will be a platform for cultural criticism and exchange while fulfilling an educational function. The significance of arts education lies in enabling learners to discover the value of sustainable development through site-specific art and educational activities, and promoting mutual communication to create meaning.

공공교육의 장으로서 미술관

김형숙(Kim Hyungsook) 한국예술경영학회 2001 예술경영연구 Vol.1 No.-

Currently, the understanding of museums as places where artworks and heritages are stored has been challenged, and the concept of museums as institutions of public education has come to be emphasized. The perception of a museum as a public educational institution has come into being as the history of museums has developed. Education in museums has been different than education in schools. Therefore, in the West, museum education has been stressed in the sense of supporting the limitation of the school systems and satisfying the general publics cultural demands. In general, in the United States, the Department of Education has been engaged in the structure of museums as well as concentrating on public education. The purpose of this study is to investigate the current status of museum education in Korea and to pursue the direction that this movement is taking. In this study, I discuss first, the history of museum education in the West and in Korea and second, a case study of museum education in Korea My discussion will include case studies such as the Masterpieces of the Guggenheim Museum, Bauhaus Artists, and Children’s Museums in private and public museums in Korea. Since museum education originated in the Louvre Museum in 1793 in order to open its collection to the public, the British made the Museum Act in 1845 and tried to establish the identity of museums as public institutions. The Victorian & Albert Museum developed museum education programs in conjunction with universities, schools, and children’s activities. In the United States, museums came to be more of an educational institution than in Europe. The Metropolitan Museum of Art, for instance, began the education program for adults in 1872, and the Toledo Museum developed museum education programs with an emphasis on children’s programs. In the 1920s through the 1930s, a Progressive Educational Movement in the field of education influenced the museum environment as well as the school environment in the United States. Since 1970, museums considered the invisible visitors of the museums, and developed the exhibitions and programs with the communities and the marginalized public in mind. Museum education in Korea began in the museum school of the Gyeongju National Museum without any curriculum in 1954. Since then, this program opened annually with the purpose of open education for young audiences. In the 1980s, museum education further developed in Korea in the form of diverse programs of teachers’ education, children’s programs, as well as interpretive and hands-on exhibitions. In particular, this study discusses children’s museum in the Contemporary Museum of Art in Korea. Appreciation of artworks of the Museum, making art, self-evaluation of activities, and exhibition of children’s artworks are based on the interdisciplinary approach to art education in the museum. Additionally, a hands-on exhibition of the museum helps children understand the artworks with pleasure and play. The Masterpiece of Guggenheim Museum of the Hoam Museum in Korea is concentrated on art appreciation in art education. The Bauhaus Artists of this museum developed exhibitions and programs based on Discipline-Based Art Education. Art criticism, art history, aesthetics, and studio art are also practiced in this museum education. Museum education in Korea is not seriously considered among museum professionals compared to conservation, classifying, and research of collections. However, with the consideration of the significance for exhibition and education programs, museums of Korea can serve as educational institutions for the public. The notion that the public can experience the museum as a place where artworks are a part of everyday life can help to develop and improve museum education in Korea.

창의성 담론으로 본 미술교육에의 적용 가능성 고찰

김형숙(KIM Hyungsook),박미진(PARK Meejin) 한국미술교육학회 2014 美術敎育論叢 Vol.28 No.1

미술에서의 창의성에 대한 담론들은 철학, 문학, 예술, 기술과 같은 다양한 학문의 발전과 맥락을 같이 하며 시대별, 문화별로 차이를 드러내는데, 이러한 차이에도 불구하고 동서양 미술의 창조 과정에서 공통적으로 추구되는 특성은 '새로움'과 '독창성' 이었다. 본 연구에서는 이러한 새로움과 독창성을 추구하는 창의성이 미술 영역에서는 어떠한 특성을 가지는가를 살펴보기 위하여 합류 이론을 바탕으로 개인, 영역 , 환경이라는 세 가지 관점에서 미술 창의성의 특성을 고찰하고, 이를 바탕으로 미술 교육에의 시사점을 도출하였다. 미술 창의성의 특성은 개인적인 측면에서는 인지 능력으로서 문제 발견 능력과 정의적 특성으로서 자율성이 강조됨을 제안하였으며, 영역 측면에서는 영역 관련 기술이 그 어떤 영역보다 확장되어 있음을 그 특성으로 제안하였다. 또한 환경 측면에서는 새로운 밈(meme) 을 받아들이는 해당 사회의 개방성의 중요함을 미술 창의성이 드러나는데 필요한 환경적 특성으로 제안하였다. 따라서 이러한 논의를 바탕으로 얻을 수 있는 교육적 시사점은 첫째, 미술 교육에서 정서적인 면만을 강조하는 활동이 아닌 문제 발견 능력을 중심으로 하는 인지적 능력을 활용할 수 있도록 해야 하며, 둘째, 미술 창조를 위한 개인의 자율성이 보장될 수 있도록 해야 한다. 셋째, 포스트모더니즘 이후 현대 미술의 양상을 반영하여 다양한 미술 세계를 접할 수 있는 기회를 개인에게 제공하여야 하며, 넷째, 미술에서의 창조 행위에 대하여 교사 및 평가자의 개방적인 자세가 필요함을 제안하였다. The discussions on creativity in art are in the context of the development of various fields such as philosophy, literature, art, and technology. Differences in development exist according to the generation and culture. In spite of these differences, the common characteristic found in the progress of the creation of Eastern and Western art was "novelty" and originality. This study discusses the confluence theory of creativity, in order to see what the characteristics of "novelty" and "originality" are in pursuing art. We consider creativity in art from three different points of view: the individual, domain, and environment: then we propose educational implications in art education. In the individual point of view, the ability to discover the problem and autonomy are emphasized in the character of artistic creativity. And in the domain side, the character of artistic creativity has expanded more than any other field in the postmodern era. In the environmental point of view, we propose that the importance of the openness of the society to accept the new meme is a necessary characteristic to reveal creativity or art. Therefore, the educational implications from this study are as follows. First, we should apply cognitive ability focusing on discovering the problem, not the activity emphasizing the emotional aspect of art education. Second, the autonomy of individuals should be guaranteed for the creativity of art. Thirdly, the opportunity to embrace the diversity of art and contemporary art in the postmodern era should be given to the learners. Lastly, the open-minded attitude of the teacher and evaluator is needed for art creation activities.

전시에 있어서 재현의 의미

김형숙(Kim Hyungsook) 서양미술사학회 2000 서양미술사학회논문집 Vol.14 No.-

Exhibitions as a means of communication have not been seriously considered among theoreticians because of their temporal and momentary characteristics. Most theoreticians have developed their arguments or discourses concerning individual artists or artworks surrounding aesthetic, social, and political discourses presented in the exhibition space. However, they have not considered exhibitions in which the objects are installed independently. Since 1990, Michael Baxandall, Carol Duncan, and Tony Bennett argue that exhibitions, no matter what the title or subject, cannot exist in a neutral space, but inevitably are related to aesthetic, social, political, and cultural discourses and to the curators intention for a particular exhibition. Objects displayed in an exhibition space can be read differently according to the viewers’ attitudes and conditions, and the condition of the exhibition space, including exhibition design and texts or documentation in the gallery space. Therefore, exhibitions in museum environments have textual quality. Artworks in a museum are posed between the invisible (meanings and realities of artworks) and the visible (artworks in the exhibiton space). This study is based on the premise that exhibitions represent historical, ideological, political, and aesthetic discourses, and asks the following questions: What was the physical context of these objects, images, and artifacts when they were displayed and institutionalized as exhibitions? How did those installations affect their meanings? What aesthetic, cultural, and political discourses intersected with these exhibitions? What sorts of viewers or ‘subjects’ do different types of installation designs create? What kinds of museums are constituted by particular installation practices? How do these installations shape the viewer’s experience of the cultural ritual of a museum visit? The 17th century ‘cabinet of curiosities.’ which was considered the first form of exhibition space, displayed various objects and artifacts according to visual similitude. Objects and artworks in exhibition spaces in the 18th century were exhibited based on the principle of morphological features in order to make visible the inner organic structure between the objects. Similar objects that could be classified were exhibited in the form of series. Opening private collections of museums to the general public is a modern concept. Modern museums developed with the collapse of monarchy and the establishment of democratic and autonomic states. For the various public viewers, modern museums prepared text panels, catalogue, and guidebooks. Additionally, artworks were exhibited according to the category of the artists’ schools, nations, and regions in order to represent visual art history in the exhibition space of museums. In the early 20th century, the exhibition design came to be developed in various ways. Fredrick Kiesler and Herbert Bayer’s 〈International Exhibition of New Theater Technique〉 was focused on the question of a situation in relation to the objects and the viewers in the exhibition space. In this exhibition, the viewers were not situated in the space of the idealized and atemporal space, but were situated in the context of the specific time and space in which the artworks were experienced by viewers. Kiesler and Bayer’s method of exhibition were denied by Alfred Barr in the Museum of Modern Art in New Yolk. Barr’s exhibition practices were developed when modernism came to be institutionalized. Barr’s exhibitions during the 1930s represented the universal and modern self in an autonomic and democratic society and in an aura of modern genius artists. Barr’s exhibition design, which was free from various contexts and focused on the aesthetic ‘quality’ of the artworks, was one of the most significant devices in justifying modernist aesthetics in the Museum of Modern Art. &

한국 미술교육의 현황과 전망

김형숙(Kim Hyungsook) 한국예술경영학회 2002 예술경영연구 Vol.2 No.-

Art education in Korea need to be reformed to bringing the persons in constructing the 21st-Century society, as the paradigms of the Western art education have been transformed. Since Korean art education was not isolated from the movement of art education in the West and has been developed in accepting the new trends of Western culture since 1945, it encounters to be transformed in the field of education of the public as well as professionals. Therefore, this paper attempts to examine the current situation of art education for the ordinary people and professionals and point out the problems of the current art education and suggest the vision, based on new paradigm of art education. It was the Gap-o-kyung-jang that visual art was first taught in a institution, Bae-Jae Hakdang. Before that time, art was not considered as the significant subject to be taught in the schools, but succeeded by the parents in the family structure of Confucianism. After the Independence from Japan, Korea art education came to be shape the modern style of art education. Since the creative-self expressionism art education came to influence on modern Korean art education with visiting of George Peabody College for Teachers in the U.S. and contribute to constructing the structure, movement, contents, and teaching methodology of modern art education in Korea, the seven reforms have been practices in Korea art education. Additionally, whole life education and art education in the kindergarten have been reformed in several times; however, they are not still effectively working in the Korean society. Meanwhile, art education for the gifted children began in 1953 which was earlier than other field such as science, foreign language and math. Art education for the gifted children have been actively experimented in the more than 20 middle and high schools. However, the essential problems of entrance examination for the university cause the negative result of establishing the art education for gifted children. Additionally, art education of university which is in charge of educating art professionals have been succeed the old curriculum without reforms, came to be the factor of preventing the development art education in Korea. Therefore, this paper asserts the following alternative proposals: (1) Art textbooks should be reformed by focusing art appreciation; (2) the curriculum of the university need to be reformed for bringing diverse art professionals as well as artists; (3) art education should be practices in conjunction with the diverse cultural institution such as museums; (4) Rigid entrance examination of university need to be changed.