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김황기 한국조형교육학회 2009 造形敎育 Vol.0 No.35
Current art education is losing its uniqueness in ways. The problem evolves from non-artistic views and approaches in art education. To address this issue, non-artistic view and approaches in both general art education and art making has been raised. Non-artistic elements raised in general art education are threefold: the perspective which doesn't consider the meaning of to be as matter, the attitude which focuses on philosophy of art education, and approach which relies on language too much. Non-artistic elements raised in art making are also threefold: the attitude which tries to control, to be decision makers, the attitude which teaches techniques and rules, the attitude which values on product rather than process. The more art education become intelligent, the less art education become vital. This is not at all say that dexterity, knowledge, and taste are unnecessary components of art that does move us. The result of this study is simple and clear. Art education should recover its uniqueness in general field and in art making To do this is establishing scholarly basic principles of art education and surviving of art education in formal education.
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김황기 한국조형교육학회 2005 造形敎育 Vol.0 No.25
The purpose of this study was to investigate the relationships between cognitive styles and teaching strategies of two art teachers. This paper, however, presents only the results of qualitative data analysis. For the qualitative method, in-depth interviews were conducted to investigate teachers' cognitive styles and teaching strategies in art education. Two art teachers who were considered having different cognitive styles by researcher were participated in this research. They were interviewed according to the two criteria: 1) their cognitive styles in their learning and teaching experience, and 2) their own instructional strategies in art education. All interview data were transcribed, coded according to the criteria, and interpreted. The result of the research showed: 1) each teacher has her own cognitive style, and 2) each teacher has her own strategy which is related to her own cognitive style. This research findings demonstrated the need for creating and implementing teachers training programs in a way 1) that art teachers should exposed to and understand the cognitive styles for the their learning and teaching, 2)that program for art teachers encourage students to have versatility, 3)that art teachers should have more opportunity to keep in touch with teaching methods in art program, and 4) that program for art teachers give students to explore rationality of art education. From the findings of this research, I conclude that the program for art teachers should focus not only art itself but also teaching art.
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김황기 한국미술교육학회 2013 美術敎育論叢 Vol.27 No.1
본 연구의 목적은 미술적 사고에 대하여 탐구하는 것이었다. 미술적 사고와 관련하여 미술적 사고의 차원. 미술적 사고의 작용으로 구분하여 살펴보았다. 미술적 사고의 차원에서 연구자는 선(全)사고를 거론했다. 의식적 사고와 무의식적 사고가 융합된 망아적(忘我的) 상태인 전사고를 자신의 능력을 극대화하고 진정한 자신을 알게 해 주는 사고로서 다른 학문 영역에서 강조하지 않는 미술적 사고라고 주장했다. 미술적 사고의 작용에서는 시각적 사고, 감정적 사고, 몸적 사고 를 거론 했다. 이 사고들이 미술이 다른 학문과 다름을 만들어내는 사고라고 보았기 때문이다. 시각적 사고는 발산적이고 창의적인 사고임을, 감정적 사고는 일에 대한 투지와 정열과 관계되는 사고임을, 몸적사고는 이전에 없던 새로운 경험구조를 이끌어내는 자신만의 이해, 지혜를 이끌어 내는 사고임을 강조했다. The purpose of this study was exploring the concept of artistic thinking. I consider that artistical thinking is twofold. One is for the dimension of thinking and the other is the function of thinking. I suggested whole awareness as the dimension of thinking in art. Whole awareness that is the state of fusion of the conscious and the unconscious thinking is self-effacement that maximize our capacity and let us know genuine us. Whole awareness is artistic thinking that other principles do not consider important one. I raised visual thinking, emotional thinking, kinesthetic thinking as the function of thinking in art. These three is the thinking that make difference between art and other principles. I think that visual thinking is divergent creative thinking, that emotional thinking is constituted by drives and instincts, and that kinesthetic thinking brings own understanding and wisdom on us. We should appreciate that perception and thinking, which is evoke wonder, are the important part of art. The perception and thinking is the fundamental for the soul or sprit of human being.
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김황기 한국조형교육학회 2015 造形敎育 Vol.0 No.56
The purpose of this study was to investigate the educational value of haptics stimulated by claywork and to explore the possibility of claywork as an alternative of pseudocontact. Claywork stimulates our haptic sense. The reason of stress on haptic sense is that it gives us different understanding of objects and events. First, haptic sense, whereas the eye remaining fixed on outer surfaces, provides information on the inwards of object. Second, haptic sense often finds emotional expression as the deepest reaches of the psyche may be touched. Third, creator and created work become one. The processes, so powerful and even fearful as they may be, have about them some of the qualities of magical possession. Claywork that stimulates our haptic sense has educational values below. First, claywork stimulates our basic haptic sense. Second, claywork stimulates our basic motor sense. Third, claywork improves our empathic ability. Fourth, claywork helps us to be in psychological stability. Fifth, claywork gets art works have sense of real. Two discoveries, that not thought but body is the base of human mind and haptics helps us to build an understanding of world, make us reconsider the artistic value of claywork and the alternative of pseudocontact. 본 연구의 목적은 점토활동이 제공하는 촉각 감각의 교육적 효과를 탐구하고 점토활동이 유사접촉의 대안으로서 가능성을 가지고 있는지 살펴보는 것이었다. 점토작업은 촉각 감각을 자극함으로서 다음과 같은 교육적 효과를 가진다. 첫째, 기본 촉각 능력을 자극한다. 둘째, 기본 운동 능력을 자극한다. 셋째, 공감능력을 길러준다. 넷째, 심리적 안정을 가져온다. 다섯째, 미술작품에 살아있는 현실감을 제공한다. 사고가 아니라 몸이 정신의 토대가 된다는 것과 촉각이 우리가 알고 있었던 것 보다 우리 인간에게 중요한 역할을 한다는 두 가지 사실이 밝혀지면서 촉각을 자극하는 미술활동, 특히점토로 하는 활동이 가지는 미술적 가치와 유사접촉의 대안으로서 가능성도 부각되고 있다.
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예비 미술교사들의 교육실습- 다양한 앎의 방식을 이해하기 위한 현상학적 접근 -
김황기 한국조형교육학회 2007 造形敎育 Vol.0 No.29
Art Pre-service Teachers Field Experience: - A Phenomenological Approach toward Understanding Diverse Ways of Knowing - 주제어(key word): 예비 미술교사(preservice art teacher), 교육실습(field experience), 앎의 방식(the way of knowing)
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김황기 한국조형교육학회 2016 한국조형교육학회 학술대회지 Vol.2016 No.-
미술감상은 연구자에게도 익숙하지 않은 분야요 영역이다. 그렇지만 학생들에게 감상하는 방법을 알려주기는 해야하는 입장이다. 미술교육을 전공했고 가르치기 때문이다. 물론 그렇다 하더라도 사람 마다 관심을 가지고 흥미를 느끼는 영역이 다르기 때문에 비켜갈 수는 있다. 또는 이론적으로 알고 있 는 것만큼 전달하는 지식적 전달방식으로 대충 넘겨 버릴 수도 있다. 그렇지만 그렇게 넘어가기에는 마음이 내키지 않았다. 그래서 초보자의 심정으로 하나의 감상방법을 고안하고 학생들과 공유해 보기 로 하였다.
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