미술관 경영과 수장품 정책

최종호(Choe Jong Ho) 한국예술경영학회 2003 예술경영연구 Vol.4 No.-

This is a study on the art museum management and collections policies, which should be executed on the economic principle and in the perspective of a non-profit making permanent institution. An art museum is a cultural and artistic complex for not only the laymen but also the professional in order to relish, study and enjoy essence of arts, information of artists, appreciation of art performances, achievement of aesthetics and art history, etc. Common people, critics, artists, lovers and manias of art museums hope generally to get experimental exhibitions, educational programmes, knowledge and experience in relation with their life. This trend is becoming more focused by the will of the art museum itself to cover the specialized fields of the arts and art museum activities. More effective art museum management is also made by the systematic collections management. Art museums in the future should be subsisted on their account. They should be established and managed in ways to meet the desires of the users and to get funds from the voluntary supporters or devotees of arts. For purpose of self-support management of art museums, they should be managed with the aim to serve for users and they also should be located in easy accessible places. The location of art museum is very important more than its collections in the aspect of accessibility as well as absorptivity. Art museums should be within accessible distance from the visitors or users, who are divided into segments according to the academic level, age, sex, occupation, expectation and so on. Art museums should develop re-visits of the users by constantly developing new items to relish, study and or enjoy. When they find the same as before, their revisits will be reduced, and the efficiency of management is fallen. It is necessary to research and develop new menus on art museum activities and to provide a new serial repertories on the variety of art presentations with users. Supposed previous art museums were focused on originals and manager-oriented institution, they in the future should be developed on artistic resources and user-oriented complex experiencing arts and art performances. The resources of art museums may be largely categorized into tangible art objects and intangible art performances, or into material data and non-material information. The collections policies articulate the art museum activities in its collections care, demonstrating that art museums are behaving legally and responsibly towards its collections. They should be explained why an art museum is in operation and how it goes about its business, and it articulates the art museum’s professional standards regarding art objects left in its care. The collections policies based on the mission of an art museum should be at least covered with the purpose of the its collection goals, with the method of acquiring artistic resources for the collections and with method of de-accessioning and disposing art objects from the collections. Beside, for the best and specialized collections of an art museum, the policies of the art museum should be executed in a specialized category of or a subject of artistic resources related to art objects and art performances. In conclusion, an art museum management should be necessarily based on the economic principle included the maximum efficiency and common benefit of management. And collections policies should be also based on characteristics of collections and on the economic principles for better getting originality in artistic resources related to art objects and art performances.

예술사회학적인 관점에서 본 지역문화의 가치향상을 위한 미술관의 발전전략

이소연(Lee, So Yeon),이명아(Lee, Myung Ah) 한국전시산업융합연구원 2013 한국과학예술융합학회 Vol.12 No.-

현대의 미술관의 역할이 대중적인 복합문화공간으로 변화하고 예술작품을 단순히 보여주던 미술관의 전시기획 양상이 대중과의 상호소통적인 행위로 바뀌고 있다. 나아가 미술관은 시대의 변화에 따라 그 기능과 역할도 변화하게 되었으며 지역사회를 살리기 위한 경제활동에도 이바지하게 되었다. 실제로 미술관을 유치하거나 문화예술에 대한 투자는 도시를 재생하기도 했다. 뉴욕의 소호, 중국의 798, 런던의 스트리트 갤러리는 예술가들이 예술창작을 위한 장소로 사용되던 공장지대와 선창지구가 그 지역의 문화공간으로 자리 잡고, 도시의 중심축이 되어 지역문화의 가치향상에 영향을 미친 예술지구가 되었다. 본 연구는 예술과 사회가 만나는 접점이 되고 사회공간의 상동성을 반영, 매개역할을 하는 미술관을 예술사회학적인 관점으로 바라보았다. 반영적인 접근과 형성적인 접근, 스타일장으로서의 미술관의 역할을 살피고 실제사례 분석을 통하여 침체된 지역을 활성화 시키는데 문화예술을 기반으로 한 미술관이 그 역할을 할 수 있음을 전개하였다. 실제 사례분석으로 구겐하임 빌바오 미술관(Guggenheim Museum Bilbao)의 사례는 정부의 노력으로 유치한 미술관이 도시를 재생시켰을 뿐만 아니라 관광 및 연관 산업의 유치로 다양한 고용창출을 유발시키고 도시의 이미지를 변화시켰다. 전 세계의 유리를 한곳에 모으겠다는 목적으로 한 가지 재료만을 가지고 문을 연 코닝 유리 박물관(Corning Museum of Glass)도 미국 북동부까지 이 박물관을 보기 위한 방문객들의 발길이 끊이지 않고 있다. 노구치 미술관(Isamu Noguchi Garden Museum)은 이사무 노구치라는 한 예술가가 롱아일랜드지역의 문화예술의 변형을 이끌며 미술관이 도시의 가치를 향상시키고 있음을 말해주고 있다. 또한 앞으로의 미술관의 운영방향에 있어 다양한 문화콘텐츠육성과 더불어 지역의 커뮤니티 예술프로그램, 지역자치의 예술에 대한 지원, 창의적인 도시환경 조성의 필요성을 제기하였다. 도시의 상징성이 짙은 문화시설을 조성하여 문화소비를 유도하고 문화관광이나 문화산업과 연관 지어 고용과 재정수입을 창출하고 지속성 있는 경제발전을 이루기 위한 필요 요인으로 미술관이 역할을 하였으면 한다. The role of modern art museums has changed into a complex cultural space for the public, and the trend of exhibition plan of art museums has changed from simple display of art pieces to mutual communication with people. Moreover, the functions and roles of art museums have also changed along with the change of times, and they have come to make a contribution to economic activities to revive local communities. In reality, establishment of art museums and investment in culture and art have made a city revitalize. This research investigates art museums, which become the meeting point of art and society, reflect the homogeny of a social space and become the media, from the viewpoint of sociology of art. The roles of art museums as the field of styles were studied from reflective and formative approaches, and it was proved that an art museum can play the role of reviving a stagnant region based on culture and art through the analysis of actual cases. In the case of Guggenheim Museum in Bilbao, the art museum established by the effort of the government not only revived the city but also created diverse jobs through the growth of tourism and related industries and changed the image of the city. Corning Museum of Glass, which was opened with just one material for the purpose of collecting all glasses from all over the world into one place, has had ceaseless visit by people even from the northeast of the USA. The Isamu Noguchi Garden Museum is showing us how an artist named Isamu Noguchi has been leading the changes in the culture and art in the Long Island area and an art museum can improve the value of a city. In addition, as for the future management direction of art museums, art programs in a local community, support for the art by local governments and the setting of creative urban environment should be conducted with specific plans as well as various cultural contents need to be developed. Art museums are expected to play their roles as the main element to induce cultural consumption by establishing cultural facilities with strong symbolic feature of a city, to create jobs and financial income in relation to cultural tourism or cultural industry, and to achieve economic growth.

공립미술관의 법적 정의에 대한 재고찰

김지훈 한국법제연구원 2021 법제연구 Vol.- No.60

Museums and Art Museums Act was enacted in Nov. 30th, 1991, that was basically rooted in Museums Act passed in 1984 and substituted it. For the first time the newly enacted law manifested the legal conception of art museum but also public municipal art museum. According to Art Museums Act of 1991, public municipal art museum is established and run by local government. Museums Act defined the public municipal museum is the museum local authority founded. Museums and Art Museum Act is differentiated from its predecessor for stressing the managerial conception on public municipal art museum. After its legislation, the definition of public municipal art museum has never revised. Its legal conception changed only one time, when Museums Act was abolished and Museums and Art Museums Support Act adopted. In contrast, the definition of art museum has been modified twice until 2020, although they were not dramatic. In this study, I pose a question considering the appropriateness of the legal definition of public municipal art museums. The Korean society has experienced a variety of changes socially, economically, and politically after the enactment of the Art Museums Act. In accordance with Museums and Art Museums Support Act, public municipal art museum is conceptualized by 4 key words; art museum, local autonomous body, foundation, and management. Based upon the historical transition of art museum and local autonomy, and the reality of its establishment and management, I examine the extent how far its legal definition is suitable to embrace the public municipal art museums in practice. 1991년 11월 30일 「박물관 및 미술관 진흥법」이 제정된 이후 미술관에 대한 공식적인 법적 개념이 처음으로 제시되었다. 해당 법률에 의하면 공립미술관은 지방자치단체가 설립·운영하는 미술관으로서 공공미술관의 일종이다. 이후 「박물관 및 미술관 진흥법」은 수차례 개정되며 박물관과 미술관에 대한 개념도 조금씩 수정되었으나 공립미술관의 정의는 제정 이후 단 한 차례도 변경되지 않았다. 본 연구는 공립미술관의 법적 정의의 적절성에 의문을 제기하고 있다. 「박물관 및 미술관 진흥법」이 제정된 이후 한국 사회는 사회적·경제적·정치적으로 다양한 변화를 경험하여 왔다. 이러한 변화 사항을 현재의 공립미술관에 대한 법적 개념은 충분히 반영하지 못하고 있다고 판단된다. 「박물관 및 미술관 진흥법」에 의하면 공립미술관의 법적 개념의 핵심어는 ‘미술관·지방자치단체·설립·운영’이다. 미술관의 역사적 변천과 지방자치, 현실에서 이루어지고 있는 미술관 설립과 운영 실태를 바탕으로 공립미술관의 법적 정의의 적합성을 살펴본다. 그 결과 “지방자치단체가 소유한 미술관”으로서 공립미술관의 개념 수정을 제안하고자 한다.

경영자립의 관점에서 본 미술관의 공공성 확보를 위한 대안 모색: 영국과 프랑스의 미술관 법인화를 중심으로

안필연 유럽문화예술학회 2018 유럽문화예술학논집 Vol.9 No.1

Seeking any kind of independence in art museum management is generally thought to damage publicness. Since publicness is regarded as the value that comprises the base of an art museum’s existence, financial independence as a big part of management independence is placed on the back burner in art museum administration. That being said, the publicness required of art museums in the 21st century is obviously different from that of the past. Thus, the matter of compatibility between publicness and management independence is no longer a matter of choice. We have to become aware of a rapid change in the ecosystem pertaining to a problem in order to approach it. The concept of publicness, an inviolable value of an art museum, is changing more than anything else. As demand by those who enjoy culture and art is diversified, art museums have become unsatisfied with its conventional roles of preservation, research, and education. The conflict between publicness and management independence is increasing as a gradual reduction of public funds works as a factor to stimulate management independence in art museums. England and France have sought after management independence and publicness through the conversion of national and public art museums into corporations. Both nations have run art museums in the form of corporations with autonomy even though a distinction exists in terms of concrete methods. They guarantee the autonomy and independence of art museums through a strategy of incorporation as the solution to tackling the two contrasting assignments of publicness and management independence. It is important to establish a model for national and public art museums’ management independence that is intrinsic, innovative, and functional. It is time to make a more forward-looking endeavor to overcome hardships through alternatives for management independence and understand urgency in reality such as the reduction of public funds. For this to be successful, it is necessary that a variety of subjects both inside and outside the world of art engage in a process of discussion and exploration and communicate with one another. 일반적으로 미술관에 있어서 경영자립은 공공성을 훼손하는 것으로 여겨진다, 공공성은 설립주체와 상관없이 미술관의 존립근거가 되는 가치이기에, 경영자립의 큰 부분을 차지하는 재정자립은 미술관 행정의 우선순위에서 멀어지게 되었다. 그러나 21세기의 미술관에게 요구되는 공공성은 과거의것과는 분명하게 다른 성격의 것으로, 공공성과 경영자립의 양립문제는 더는 선택의 문제가 아니게되었다. 문제에 접근하기 위해서는 이를 둘러싼 생태계의 급격한 변화를 인식해야 한다. 우선 미술관의침범할 수 없는 가치인 공공성 개념이 변하고 있다. 문화와 예술에 대한 문화향유자의 요구가 다양화되면서, 미술관도 보존과 연구, 교육 등의 전통적인 역할에 머물 수 없게 되었다. 이에 더해 점진적인 공적 자금의 축소가 국공립미술관의 경영자립을 재촉하는 요인으로 작용하면서, 공공성과 경영자립 간의 갈등은 더욱 심화되는 추세다. 이에 대응하기 위해 영국과 프랑스는 이미 국립미술관의 법인 전환을 통해 경영자립과 공공성을 도모해 왔다. 구체적인 방법에는 차이가 있지만, 양국은 미술관에 자율성을 부여하는 법인의 형태로 미술관 운영을 하고 있다. 공공성과 경영자립의 대립하는 두 과제를 관통하는 해법으로서 법인화라는 경영자립 전략을 통해 미술관의 자율성 및 독립성을 오히려 보장해나가고 있는 것이다. 중요한 것은 영국과 프랑스의 경영자립 전략을 참고하여 우리만의 고유하고 혁신적인 동시에 기능적인 국공립 미술관의 경영자립 모델을 구축하는 것이다. 이를 위해서는 공공지원금의 축소라는 추세적 현실의 급박함을 인식하고, 경영자립의 대안을 통해 난관을 헤쳐 나가는 보다 전향적인 시도가 필요할 때다. 이를 위해서는 논의와 모색의 과정에 예술계 안팎의 다양한 주체들의 참여와 소통이 전제되어야 한다

시대적 변화에 따른 국립현대미술관 공간 변화에 관한 연구

이민희 ( Lee¸ Minhee ),김주연 ( Kim¸ Jooyun ),김원길 ( Kim¸ Wongil ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.3

(연구 배경 및 목적) 국민의 문화 향유를 위한 예술은 정치·사회·환경적 변화에 따라 시대적 변화를 보여준다. 본 연구는 시대적 변화에 따른 우리나라 국립 미술관의 공간 변화에 주목하고자 한다. 국립 미술관의 건축적 변화의 분석과 해석이 아닌 환경적 변화와 미술관 역할의 변화 양상에 따른 기능적 변화를 중심으로 접근하고자 하며, 기존의 미술관 공간 연구가 건물의 외관, 내부 물리적 공간의 분석 등 건축학 측면으로 연구가 되었다면, 본 연구에서는 미술관 환경의 변화, 운영의 변화, 미술 전시의 변화, 즉 기능적 측면에서 미술관의 변화를 분석하고자 한다. 본 연구는 국립 미술관의 시대적 변화를 이해하고, 변화의 특성을 파악하여 앞으로의 미술관의 공간 운영 전략을 위한 학술적 연구 자료로 활용하는데 연구의 목적을 두고 있다. (연구방법) 연구의 방법은 미술관 공간의 변화의 이론적 고찰을 위하여 문헌 연구를 기반으로 진행한다. 미술관 공간의 변화를 시대적, 운영적, 사회 요구적 변화로 나누어 분석하고, 이를 토대로 미술관 공간을 변화하게 하는 요인으로 환경적, 기능적, 관람 서비스적 측면의 세 가지로 분석한다. 이를 토대로 분석의 틀을 마련하여 미술관 공간의 변화에 대해 검증한다. (결과) 분석 결과, 오늘날 미술관 공간은 장소성이 높게 나타나며, 미술관의 특성을 가장 잘 나타내는 요인으로 분석된다. 미술관의 기능적 측면의 변화로 인한 공간의 특성은 기관의 면적과 규모가 클수록 전시·교육·연계 문화 행사 등 다양한 프로그램을 실행하여 참여성과 공공성이 높게 나타났다. 반면 접근성이 우수하다고 해서 기능적 특성인 참여성과 공공성, 지속성이 비례하지는 않는 것으로 분석되었다. 관람 서비스 측면으로는 휴게공간이 더 넓게 제공될수록 사용자의 편리성과 이용빈도가 높아진다는 것을 알 수 있었다. (결론) 본 연구를 통해 오늘날 미술관의 공간 형태는 규모가 커질수록 ‘복합문화공간’으로의 역할을 수행하며, 기능적 특성인 참여성과 공공성이 높게 나타나는 것으로 분석되었다. 이는 환경적, 기능적, 관람 서비스적 변화가 미술관의 공간 운영 형태를 변화하게 함을 시사한다. 본 연구의 결과는 앞으로의 국립 미술관 공간 활용 계획에 앞서 참고할 수 있는 기초자료로서 활용될 수 있을 것으로 사료된다. (Background and Purpose) In art, the trends of the times for people to enjoy culture have changed with political, social, and environmental changes. The National Museum of Arts has a duty to ensure that the right of enjoyment of culture is recognized as a people's basic right. This study focuses on the spatial changes of the National Museum of Arts in Korea. It tries to derive each factor by analyzing spatial changes in the art museum diachronically, and classifying the characteristics of changes. This study should serve as academic research material for the space operation strategy of the art museum in the future, by understanding the changes in the National Museum of Arts and the trends of the times. (Method) This study proceeded on literature reviews for the theoretical consideration of spatial changes in the art museum. It analyzed spatial changes by dividing them into periodic, operational, and socially demanding ones, and then analyzed the factors of spatial changes in the art museum from three aspects: environmental, functional, and viewing service. The study then prepared a framework for analysis to verify the spatial changes in the art museum. (Results) The results revealed high placeness in the art museum, a factor that best represented the characteristics of the art museum. The functional change in the art museum showed that the larger the area and scale of the institution, the higher the participation and publicity, as it has run various programs for exhibitions, training, related cultural events, and so on. However, excellent accessibility was not proportional to the functional characteristics of participation, publicity, and persistence. In terms of viewing service, except for exhibition halls, the more rest facilities built, the more convenient and usable, and participation and public performance appeared in the same indicators. (Conclusions) This study showed that the spatial form of art museums today becomes a “complex cultural space” as its scale increases, with significant functional characteristics of participation and publicity. Therefore, changes in environmental, functional, and viewing services dictate how art museums use space. The results of this study can function as basic reference material in the future, when planning space utilization in the National Museum of Arts.

미술관의 사회적 존재론 - 미술관체제와 장소-관계의 예술 사이의 변증법을 중심으로 -

김동일 한국문화공간건축학회 2019 한국문화공간건축학회논문집 Vol.- No.65

This paper aims to investigate another possibility of the museum. The relation of art and society has always been changing. The reason why the museum is important is that the museum intermediates art and society each other. The museum reflects the demand of society into the art, and extends the meaning of art into the society. Especially in the Marxist view, the museum is the center of ‘the relation of art production’. Today, the museum can be defined as the network of such resources as the power, the capital, and the media, and the artworld. In this paper, I use the term, "the Great Museum, to indicate a few museum which succeed in organizing such social resources. And in our contemporary artistic situation, the site-specific and relational art represents the level of ‘the means of art production’. The site-specific and relational artists regard the interactions of people as the material of their artistic practice. The Great museums of contemporary Art should evolve into a new stage to provide the room for the site-specific/relational art properly. So far, the Great museums had a tendency to monopoly the meaning of art and have presented the art works as the spectacle form. But now many site-specific and relational artists take as the tool various, humble and worthless things that can be found in everyday life of people to put the artistic meaning in. Many biennales, held in so many cities, can be regarded as the effort to put the site-specific/relational art into the system of the Great Museum. But the biennales have the limit, in that they are the products of neo-liberalism which the sitespecific/ relational artists want to get over. In this paper, I examine the possibility of 'community curator program' to compromise the advantages of the Great Museum system with the aesthetics of the site-specific/relational art.

변화하는 문화환경과 미술관의 공공성 문제

조선령(Cho Seon-ryeong) 현대미술사학회 2007 현대미술사연구 Vol.22 No.-

This essay suggests a way of understanding the concept of the public interest of the Art museum under the changing cultural situations. The concept of Art museum as public institution, tracing back to the inauguration of the Louvre where the nationalized collection from Aristocrats and royal family was opened to the public without entry fee, has diverse meanings, such as the preservation of Art works for the future generations, the reinforcement of public Accessibility, the educational effort for the visitors to learn About the value of high Art, and etc. With the changing cultural situations for recent thirty years, new rules of the Art museum and new meanings of its public interest have been emerging. Nowadays, the Art museum is no longer regarded as the institution for collecting and researching Art works, but as the place for entertainment where visitors enjoy diverse cultural programs. and the meaning of the public interest of the Art museum is largely focused on popularity. While Western Art museums have Already undergone many variations, Korean counterparts just begin to change. Facing different requirements to be fulfilled in one breath, Art museums in Korea have experienced errors and difficulties. This essay seeks a way to define the public interest of the Art museum by relying on two theories. One is cultural economics, and the other is politics. These theories ask on what ground supporting art by the government could be justified, and present the Answers. First, According to cultural economists, Art has non-user benefit, that is, the value which has some effects on those who don’t participate in Artistic Activities directly and causes the reluctance of the private investment. In result, demand Always exceeds supply in the supposed free market. So supporting Art by the government could be justified. Second, According to the theory of the liberalist perfectionism, the government should make efforts to help its people develop their Autonomy. Art is one of the effective means to meet the task because it doesn’t force people but invite them to enhance the quality of their lives. The public values of Art explained by these theories could be identified as the contents of the public interest which the Art museum should support. Based on these theories, the public interest of the Art museum could be understood as the intersected field of popularity and professionalism. The former without the latter leads to populism, and the latter without the former leads to elitism. After criticizing the blockbuster exhibitions which are recently all the fashion in Korea by the same principle, this essay wants to designate the conditions of the successful museum exhibition in the light of the public interest by presenting two examples from MoMa. The first sample is the exhibition “Manet and the execution of Maximilian”(2006-2007), and the second one is “Machine Art”(1934). By linking the inner issues of Art to the outer ones, and by making the museum the place for social discussions. two exhibitions increase the public values of the art museum.

공립미술관 운영효율성 분석

주희엽(Joo, Hi-Yeob),김승모(Kim, Seung-Mo) 한국문화산업학회 2012 문화산업연구 Vol.12 No.2

The purpose of this study is to analyze the operational efficiency of public art museum. Cultural industry has been evaluated as a competitive service industry in the future by the high pace of market size growth. The role of public art museum based in the local cultural industries are so important because of its various support functions as fundraising, exhibition support systems, new market formations, etc. Therefore operational efficiency, some kinds of measurement item, must be considered to secure the competitiveness of public art museums as performance management tool. To analyze the operational efficiency of public art museum, using DEA, tool for measurement of public sector. During the analysis, personal and facilities score were used, but financial score was excluded because of free admission policy and differences in budgeting. Based on this analysis, the deciding factor of the public art museum is location of the museum and because of the artists. Efficient public art gallery where the most outstanding scenic or tourist attractions were located. In addition, a small museum in the center of any particular artist was watching a lot of visitors. Seoul Museum of Art was benchmarked against any organization, This suggests the following, The administrative-oriented planning and operating a large-scale exhibition is attracting. Also Metropolitan Museum of large class sizes, depending on the size of the consideration is found to be inefficient. The theoretical implication is that Quantitative method is applied to an public art gallery. By removing the weight of research, the study was an objective approach. In future research on various aspects of public agencies, DEA has also confirmed that there can be applied. The practical implication is that there was no significant difference in the distinction between curators and administrative. The role of curators original research should be carried out faithfully. Through this work will be higher operating efficiency. The purpose of this study is to analyze the operational efficiency of public art museum. Cultural industry has been evaluated as a competitive service industry in the future by the high pace of market size growth. The role of public art museum based in the local cultural industries are so important because of its various support functions as fundraising, exhibition support systems, new market formations, etc. Therefore operational efficiency, some kinds of measurement item, must be considered to secure the competitiveness of public art museums as performance management tool. To analyze the operational efficiency of public art museum, using DEA, tool for measurement of public sector. During the analysis, personal and facilities score were used, but financial score was excluded because of free admission policy and differences in budgeting. Based on this analysis, the deciding factor of the public art museum is location of the museum and because of the artists. Efficient public art gallery where the most outstanding scenic or tourist attractions were located. In addition, a small museum in the center of any particular artist was watching a lot of visitors. Seoul Museum of Art was benchmarked against any organization, This suggests the following, The administrative-oriented planning and operating a large-scale exhibition is attracting. Also Metropolitan Museum of large class sizes, depending on the size of the consideration is found to be inefficient. The theoretical implication is that Quantitative method is applied to an public art gallery. By removing the weight of research, the study was an objective approach. In future research on various aspects of public agencies, DEA has also confirmed that there can be applied. The practical implication is that there was no significant difference in the distinction between curators and administrative. The role of curators original research should be carried out faithfully. Through this work will be higher operating efficiency.

공립미술관의 작품구입 제도에 관한 연구-지역 대표 미술관을 중심으로-

정종효 동서미술문화학회 2019 미술문화연구 Vol.14 No.14

Local governments including Seoul are establishing the public art museums for revitalizing local culture and arts and supporting art fields. At the same time, the private art museums are sharply increasing. In this revival of art museums, it is important to consider about the role of public art museums and what is necessary for the identity of such museums. Furthermore, the public art museums need to have locality and differentiation strategy. In response to quantitative expansion of art museums, there differentiation issues regarding exhibition, education, and collection. In addition, there are issues about collection purchasing system such as increase in collection purchasing budget, construction of collection management system, and collection database. The purpose of this study is to conduct research and analysis on institutional field in purchasing collection and to suggest improvement measures. This study targeted on Busan Museum of Art, Seoul Museum of Art, and 8 public art museums representing each region. For a practical analysis, this study directly requested data to each art museum. Then, this study analyzed the statistical data on collection contents, storage status, artwork purchasing budget, and artwork purchasing procedure. Also, this study classified the artwork purchasing direction for each art museum and analyzed the items of artwork purchasing system. Then, this study pointed out problems in such system and suggested the necessity of problem solving and measures. 1992년 광주시립미술관의 개관 이후 각 지방자치단체에서 지역의 문화예술 활성화와 미술계의 지원이라는 목적으로 설립하고 있는 공립미술관과 더불어 급증하고 있는 사립미술관을 포함해 과히 미술관 부흥기라고 할 수 있다. 전국에 있는 공립미술관이 올바른 역할을 수행하고 정체성 확립을 위해 무엇이 필요한가에 대한 의식은 매우 중요하다. 지역적 특성을 수용하면서 차별화의 전략을 수립할 시점이다. 미술관의 양적 팽창으로 인한 전시와 교육 그리고 소장 작품에 대한 장기적 수집 방향성 설정의 필요성이 재기되고 있는데 소장품 구입예산 증액, 소장품 관리시스템 구축, 소장품 데이터베이스화 등의 문제와 더불어 소장품 구입의 제도에 대한 문제도 그 일각에 속한다. 본 논문에서는 소장품 구입에 있어 각 미술관의 제도적인 부분의 조사와 분석을 통하여 개선방안을 제시하고자 한다. 대상은 서울시립미술관을 포함하는 전국의 각 지역의 대표성을 띠고 있는 8개의 공립미술관을 조사대상으로 하였다. 현실적인 내용을 취합하고 분석하기 위해 각 미술관에 직접 자료를 의뢰하는 방식으로 진행되었으며, 소장 작품 내용, 수장고의 현황, 작품 구입 예산, 작품 구입 절차 등을 자료를 토대로 분석하고, 작품 구입의 방향성을 미술관별로 구분하여 작품 구입 제도가 어떻게 설정되어 있는지 분석하였다. 그리고 여기에서 나타나는 문제점을 제기하고 문제 해결의 필요성과 방법을 제언하였다.

온라인 미술관교육에서 초등학생 자녀와 부모의 상호작용 - 국립현대미술관 어린이 대상 미술관교육 프로그램을 중심으로 -

양진이,김형숙 한국초등미술교육학회 2021 미술교육연구논총 Vol.67 No.-

After the outbreak of Covid-19 in 2020, due to changes in the educational environment, domestic art museums have set up an ‘online art museum’ as a countermeasure to the suspension of face-to-face education. The National Museum of Modern and Contemporary Art’s 'online art museum' education case has various problems and possibilities. This study focuses on the 'online art museum' education offered by the National Museum of Modern and Contemporary Art developed in the dimension of social context, and examines the characteristics of online art museum education and the interactions between elementary school students and their parents in the curriculum. The purpose of this study was to obtain implications for the direction of online art museum education in the future. For this purpose, ethnography, one of the qualitative research methods was chosen as a methodology. The interactions between elementary school children and their parents was observed, and their behavior and conversations were analyzed. Analysis and interpretation were conducted based on data collected through individual interviews with research participants and online art museum education developers. Several results were obtained. First, parents and children asked and answered about the learning contents and methods in the learning process and responded sensitively to the learning materials. Second, parents motivated their children in various ways, such as reminding their children of the learning content as a guide helping their children to learn, or giving their children a new identity by remembering the artist's work concept. Third, the parents and children showed curiosity about the learning outcomes and offered active feedback to each other. Fourth, in the learning process, parents and children frequently showed reactions that are relevant to their lives. In conclusion, if online art museum education is developed in such a way that face-to face learning and online learning can be linked, it is expected that art museum education will be naturally relevant to learners' families and the educational outcomes will be maximized. In addition, if additional education contents can be developed for parents who actively participate in their children’s online learning, art museum education will be further revitalized. 2020년 코로나바이러스감염증-19 발생 후, 교육환경의 변화로 국내 미술관은 대 면교육의 중단에 대한 대응책으로 ‘온라인 미술관’을 마련하였는데, 국립현대미술관 의 ‘온라인 미술관’교육 사례는 다양한 문제와 가능성을 가지고 있다. 본 연구는 사 회적 맥락의 차원에서 개발된 국립현대미술관의 ‘온라인 미술관’교육에 주목하여 온 라인 미술관교육의 특성과 교육과정에서 초등학생 자녀와 부모의 상호작용은 어떠 한 양상을 보이는지 살펴 앞으로의 온라인 미술관교육이 나아가야 할 방향에 대해 시사점을 얻는 것을 목적으로 하였다. 이를 위해 본 연구는 질적연구방법 중 하나인 문화기술지를 방법론으로 선택하여 초등학생 자녀와 그들의 부모의 모습을 관찰하 여 행동과 대화를 분석하였고, 연구참여자와 온라인 미술관교육 개발자와의 개별면 담을 통해 수집된 자료를 바탕으로 분석 및 해석하였다. 그 결과 첫째, 부모와 자녀 는 학습과정에서 학습내용과 방법에 관해 묻고 대답하였고 학습재료에 대해 민감하 게 반응하였다. 둘째, 부모는 자녀의 학습을 도와주는 길잡이로서 학습내용을 상기 시키거나 작가의 작업개념을 기억하여 자녀에게 새로운 정체성을 부여하는 것 같이 다양한 형태로 동기부여를 하였다. 셋째, 학습 결과물에 대해 호기심을 갖고 서로 적극적인 피드백을 주었다. 넷째, 학습과정에서 부모와 자녀는 삶과 연계한 반응을 자주 보였다. 결론적으로 온라인 미술관교육이 현장학습과 온라인학습이 연계될 수 있는 방향으로 개발된다면 미술관교육이 학습자의 가정과 자연스럽게 연결되어 교 육적 효과가 극대화될 것을 전망한다. 또한 온라인학습을 주도하는 부모를 위한 별 도의 교육콘텐츠를 개발한다면 미술관 교육을 더욱 활성화할 수 있을 것이다.