• Asia Pacific Journal of Business Review
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• 제3권1호
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• pp.39-55
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• 2018

This study emphasizes the necessity of implementing political supports for artists and suggests several details to develop related industries. For these objectives this study analyzes the trend in related researches and overhauls the aid system. It then comes up with results about how artists are aware of the supporting system by conducting a survey of 140 artists. The result of summarize as follows. First, most of the artists have severely limited access to government-funded or private aid programs. This signals the urgency of establishing an integrated portal site since the artists aren't evenly offered the information they need. Along with this, artists should note that the main purpose of this portal site is focused on providing information related to livelihoods. Secondly, the analysis shows the lack of infrastructure for supporting artists. Both governmental and private sectors should take charge of establishing art consulting agencies which can bring efforts to improve rights and interests of many artists via a number of channels. Supporting artists also presents its necessity about solving social problems besides the one suggested by previous studies. This study has its significance by implying the actual perspectives of artists while most of the related studies are rather theoretical.

• 국토계획
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• 제54권3호
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• pp.5-14
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• 2019

Starting with the market vitalization project in 2008, The Gwangju Dae-in Art Market has attracted to many artists, changing into cultural and art market. After the project was carried out for a certain period of time, a study was conducted to determine the differing opinions of the artists and merchants in regards to the market. The study also examined and analyzed the factors affecting the artists' continuous activities. The difference in recognition perception between artists and merchants was analyzed through a T-test. PLS-regression analysis was used for the artists' continuing intention to work. As a result, the artists and merchants recognized that the number of visitors increased after the influx of artists. Programs that had a positive impact on the artist's intention for sustainable activities were as follows: the 'Art Products Creation Workshop', where artists, merchants, and citizens collaborate to develop commodities needed for the market; 'Hanpyeong Gallery', where artists directly or indirectly interact with merchants and citizens; the 'Artist-Merchant Workshop', where artists and merchants produce articles required for the market; 'C'est Si Bon', which expresses the placeness of the market into art; and the 'Dae-in Art Night Market', where citizens, merchants and visitors can sell their own works. On the other hand, programs with the negative effect were those where artists' participation was low or none, as the policy implications, they should be actively develop this type of programs, where artists could participate and interact with citizens and merchants, like this visitors and sales can be increased.

• 한국콘텐츠학회논문지
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• 제15권6호
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• pp.115-124
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• 2015

최근 예술가의 노동자로서의 지위 보장과 근로환경개선, 복지제도 마련에 관한 논의가 우리 사회에 일고 있다. 이 연구는 미국뮤지컬산업에서 중요한 역할을 하고 있는 다양한 예술가조합의 성립과 변천과정의 핵심적인 내용을 검토함으로써 예술가들 간의 이해관계를 조율해 온 내용을 살펴본다. 미국 공연예술분야는 오래 전부터 배우조합, 제작자조합, 극작가조합, 무대기술인조합, 연출자 안무가조합 등의 활동이 활발하여 회원을 모아 결집하여 파업을 하거나 소송을 제기하면서까지 예술가들의 처우개선과 창작에 대한 보호를 확장시켜왔다. 이들 예술가 조합의 형성과정과 그 속에 나타난 예술가들의 권익신장에 관한 여러 쟁점들은 우리나라 뮤지컬산업에서의 개별 공연계약에 많은 참고가 될 것이다.

• International Journal of Advanced Culture Technology
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• 제9권3호
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• pp.243-252
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• 2021

The Gwangju Daein Art Market, once declared as a declined market, was regarded as a success after an inflow of artists. However, the number of resident artists decreased from 100 at the end of 2015 to 39, to 9 in 2018, and to 6 in 2021. The project site showed signs of decline toward the completion of the project, leading to a Longitudinal study on the project's sustainability. The purpose of this study is to investigate the causes of outflow of artists and the network characteristics of the remaining artists from a sustainability perspective and thereby draw policy implications. As an analysis method, in-depth interviews and surveys were conducted. After that, we checked the remaining artists in 2018 and 2021 and identified the network characteristics. Based on the interview results, the causes of outflow were classified into programmatic, physical, and other factors. The results of a comparison showed that the levels of understanding, satisfaction, and frequency of exchange decreased. The study also provides policy implications. First, a sustainable, long-term program for the artists must involve the improvement of physical space. Second, participation in the market should be encouraged by working with artists on program composition or business progress. Third, programs for supporting exchange among artists should be further strengthened.

• 스마트미디어저널
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• 제12권3호
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• pp.85-92
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• 2023

This study was conducted to investigate the motives and effects of artists and teachers who participated in the ' Explore Life through Art' support project for school education by theme of culture and arts. As a result of research analysis using online survey and in-depth interview research method, it was found that both intrinsic and extrinsic motives have a complex effect on artists and teachers' motivation to participate in the project. As for the effectiveness of participating in the project, the trust between artists and teachers and the contribution of education were positive, but the trust and satisfaction with the institution were negative. In order to increase the effectiveness of the project, it is required to improve the operation and management of the operating institution. Motivation and effectiveness of project participation are important factors in improving the quality of a project, and it is hoped that this study will serve as a basis for practical discussions on the role of operating institutions and projects.

• 예술경영연구
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• 제56호
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• pp.189-215
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• 2020

본 연구는 온라인 미술품 거래 플랫폼을 통한 신진미술가의 작품 가치화 과정에 관한 이해를 목적으로 한다. 본 논문은 부르디외의 문화자본론에 대한 이론적 탐구를 토대로, 사치아트란 온라인 미술품 거래 플랫폼의 사례연구를 진행했다. 본 연구는 사치아트에 의해 선별된 국내 작가 7인과의 인터뷰 내용을 주요 자료로 삼고, 해당 플랫폼에 대한 직접 관찰 및 다양한 이차자료의 문헌검토를 통해 부가적인 자료를 수집했다. 분석 결과, 사치아트는 큐레이션을 통해 선별된 작가의 작품 가치를 암묵적으로 보증하고 인정함으로써, 해당 작가의 상징자본 형성에 기여하고 있음을 포착했다. 또한, 본고는 이 같은 작가의 상징자본 형성의 기저에는 해당 플랫폼의 창립자와 큐레이터가 축적한 상징자본의 보증이 위치함을 논하였다. 본 연구는 오프라인 미술계 기반의 미술품 가치에 관한 기존 예술경영학적 논의를 온라인으로 확장하는 것에 의의가 있다.

• 한국패션뷰티학회지
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• 제2권1호
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• pp.46-56
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• 2004

This study is an investigation research regarding Beauty Artists' perception degree about self-Technic. Therefore by grasping the field which the beauty artists recognize the insufficiency while they perform their task, the result which executed a question investigation for 430 workers at the beauty shops which are located in the Jeollabuk-do area is the same following. As a result on the subject, after the beauty artists receive a fundamental beauty care education, and when they are engaged in a real beauty care shop, in order not for them to have difficulties in business accomplishment, more realistic and active curriculum has to be made up. To do like this, more researches and more efforts in the center of the beauty care group and the educational institution are demanded. In addition, so as to grow as the expert of the beauty care artist, the systemic and internal educational training program which considers the curriculum contents, a time and the place must be provided, by developing as levels and steps of the beauty artists.

• 예술경영연구
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• 제51호
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• pp.5-34
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• 2019

이 연구는 지역문화생태계 내 청년예술가의 위치와 이들이 교류하는 생태계 내 주요 이해관계자들과의 역학관계를 중심으로 청년예술가들의 지속적인 창작 활동을 저해하는 환경적 요인을 파악하기 위해 실행된 질적 연구이다. 이 연구의 중심질문은 '무엇이 청년예술가의 지속적인 창작 활동을 저해하고 지역의 예술현장에서 떠나게 만드는가?'로, 청년예술가들의 경험과 시각에 중점을 두고 연구를 진행하였다. 본 연구에서 수집된 인터뷰 자료는 2016년부터 2018년까지 국비로 광주에서 지원된 청년예술가 지원사업을 기획·실행하는 과정에서 축적된 자료이다. 이 연구는 전술한 2년간의 지원사업 진행 과정에서 만난 회화, 문학, 조각, 영상, 국악, 시각디자인, 공예 등의 분야에서 활동하는 20-34세 사이의 29명의 청년예술가와의 공식 및 비공식 인터뷰를 통해 수집된 자료를 분석한 결과다. 자료의 분석을 위해 생태계 논리를 창조산업에 적용하고 구조화시킨 Creative Sector Holistic Model(Wyszomirski, 2008)을 차용하여, 공공인프라(General Public Infrastructure)에 포함된 옹호단체(Advocacy), 전문예술기관(Professional Associations), 공공기금(Public Funding), 정책(Policy) 내 이해관계자와 지역 청년예술가들 간의 관계와 경험, 그리고 인식을 중심으로 구성된 주요 의미를 도출하였다. 분석 결과, 경제적 어려움만이 청년예술가의 지속적인 작품 활동을 중단시키는 요인은 아니었다. 지역의 건강한 문화예술생태계의 부재 혹은 불균형에서 파생된 다양한 저해 요소들이 파악됐으며, 이는 생태계 내 근원적 문제와 원인을 파악하는 것이 매우 중요한 사안임을 방증한다. 지역의 청년예술가 지원사업은 따라서 해당 지역의 생태학적 지형을 파악하고, 생태계 내 역학관계와 문제점을 밝혀가는 과정을 통해 해당 사업의 효과와 장기적 영향을 기대할 수 있을 것으로 판단된다.

• 미술이론과 현장
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• 제3호
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• International Journal of Computer Science & Network Security
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• 제21권4호
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• pp.229-240
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• 2021

The article seeks to explore Ukrainian media art and its features in a global context. In particular, it performs an in-depth analysis of the stages of its development from video art of the 1990s, media installations of the 2000s, and to various digital and VR technologies today. Due to historical circumstances, the development of media art was quite rapid, as young artists sought to gain new experience in media art. Most often, their experience was broadened through international cooperation and studying abroad. The paper analyzes the presentation of Ukrainian media art outside the country during 1993-2020 and distinguishes the main thematic areas of the artists' work. It examines how artists present and reveal the peculiarities of the Ukrainian worldview, aesthetics, and culture through the problematization of certain aspects and themes in their work. Specifically, among the principal topics which are problematized in the work of media artists are a sensory experience, limited sensory capabilities, gender issues, the Chernobyl tragedy, the development of utopian models of the city, and global communication. The leading themes of Ukrainian artists also include revolution and war. Notably, political and social sentiments determine the unique energy and vitality of contemporary Ukrainian art, create a revolutionary creative environment, and unite media artists in group art projects. It is concluded that by showing, exhibiting, and presenting them outside the country, artists shape the image of Ukrainian art in a global context.