Pub Date : 2023-11-30DOI: 10.52564/jamp.2023.68.79
Bori Na
Museums play an important role in the development of cultural and artistic disciplines and contribute to the cultural enjoyment of the general public. As such, museum visitors are important for brand building and marketing, expanding cultural enjoyment, public contribution, and active communication. Korean museums have been focusing on improving the quality experience by holding interesting exhibitions and programs and acquiring new collections. To ensure the quality control and operational efficiency of museum exhibitions, Korea has legally required public museums to participate in evaluation and certification since 2017 and national museums since 2020. If museum accreditation is considered as a signal that a museum will provide a desirable experience, it might be able to secure visitors by responding to it. This raises the question of whether efforts to improve museum quality, as represented by accreditation, lead to increased museum attendance. To examine the impact of accreditation on the number of visitors to national and public museums, the study conducted a double difference analysis and a panel analysis between the years 2013-2021. The study found that the Difference in Difference analysis did not show a significant difference in the number of visitors to museums before and after accreditation, but the fixed effect analysis showed that the number of visitors to public museums increased significantly in the year of accreditation and then decreased significantly in the following year. The study result suggests that accreditation had a temporary signaling effect, but it did not fundamentally change attendance. There is a need for increased publicity about certification and measurement of the effectiveness of certification in attracting visitors, as well as increased incentives for museums to participate in certification.
{"title":"Does Accreditation of Museum Contribute to Attracting More Visitors? : Focusing on Accreditation of National and Public Museum","authors":"Bori Na","doi":"10.52564/jamp.2023.68.79","DOIUrl":"https://doi.org/10.52564/jamp.2023.68.79","url":null,"abstract":"Museums play an important role in the development of cultural and artistic disciplines and contribute to the cultural enjoyment of the general public. As such, museum visitors are important for brand building and marketing, expanding cultural enjoyment, public contribution, and active communication. Korean museums have been focusing on improving the quality experience by holding interesting exhibitions and programs and acquiring new collections. To ensure the quality control and operational efficiency of museum exhibitions, Korea has legally required public museums to participate in evaluation and certification since 2017 and national museums since 2020. If museum accreditation is considered as a signal that a museum will provide a desirable experience, it might be able to secure visitors by responding to it. This raises the question of whether efforts to improve museum quality, as represented by accreditation, lead to increased museum attendance. To examine the impact of accreditation on the number of visitors to national and public museums, the study conducted a double difference analysis and a panel analysis between the years 2013-2021. The study found that the Difference in Difference analysis did not show a significant difference in the number of visitors to museums before and after accreditation, but the fixed effect analysis showed that the number of visitors to public museums increased significantly in the year of accreditation and then decreased significantly in the following year. The study result suggests that accreditation had a temporary signaling effect, but it did not fundamentally change attendance. There is a need for increased publicity about certification and measurement of the effectiveness of certification in attracting visitors, as well as increased incentives for museums to participate in certification.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139199502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.52564/jamp.2023.66.105
Y. Kim
The aim of this study is to conduct a realistic examination of the structure and causes of conflicts among stakeholders regarding the formation of labor unions in domestic public arts organizations. In order to accomplish this objective, the study conducted a comprehensive analysis of the labor union formation process and the conflicts and reasons that arose within the organization. This analysis was carried out by reviewing a range of materials, including stakeholder interviews, meeting minutes, current issue reports, audit records, and newspaper articles related to the Seoul Philharmonic Orchestra, which serves as a representative domestic public arts organization. Specifically, the study explored the causes of conflict by considering the planning environment, key stakeholders, and the processes of interaction and social learning surrounding the establishment of labor unions, drawing on the “Collaborative Planning” model. The analysis revealed that the labor union's strong demands for personnel rights, aimed at addressing the issues of unstable employment and wage structures under the influence of a powerful union, had a detrimental impact on multiple stakeholders. Consequently, an opposing union was formed, and the lack of interaction and social learning within the organization deteriorated due to the absence of trust among labor, management, and government. To tackle these problems, the study proposes several recommendations. Firstly, it suggests the establishment of a formal and regular platform for interaction among stakeholders, allowing for the sharing and exchange of information through direct and indirect participation. Secondly, it advocates for a redefinition of the roles of labor, management, and government. Lastly, the study emphasizes the importance of conducting research on labor union operational methods that align with the unique characteristics of public arts organizations.
{"title":"A Study on the Establishment and Conflict of Labor Union in Public Arts Organization Based on Collaborative Planning: Focusing on the Case of Seoul Philharmonic Orchestra","authors":"Y. Kim","doi":"10.52564/jamp.2023.66.105","DOIUrl":"https://doi.org/10.52564/jamp.2023.66.105","url":null,"abstract":"The aim of this study is to conduct a realistic examination of the structure and causes of conflicts among stakeholders regarding the formation of labor unions in domestic public arts organizations. In order to accomplish this objective, the study conducted a comprehensive analysis of the labor union formation process and the conflicts and reasons that arose within the organization. This analysis was carried out by reviewing a range of materials, including stakeholder interviews, meeting minutes, current issue reports, audit records, and newspaper articles related to the Seoul Philharmonic Orchestra, which serves as a representative domestic public arts organization. Specifically, the study explored the causes of conflict by considering the planning environment, key stakeholders, and the processes of interaction and social learning surrounding the establishment of labor unions, drawing on the “Collaborative Planning” model. The analysis revealed that the labor union's strong demands for personnel rights, aimed at addressing the issues of unstable employment and wage structures under the influence of a powerful union, had a detrimental impact on multiple stakeholders. Consequently, an opposing union was formed, and the lack of interaction and social learning within the organization deteriorated due to the absence of trust among labor, management, and government. To tackle these problems, the study proposes several recommendations. Firstly, it suggests the establishment of a formal and regular platform for interaction among stakeholders, allowing for the sharing and exchange of information through direct and indirect participation. Secondly, it advocates for a redefinition of the roles of labor, management, and government. Lastly, the study emphasizes the importance of conducting research on labor union operational methods that align with the unique characteristics of public arts organizations.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134081215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.52564/jamp.2023.66.177
Tae Yong Eom
The International Standard Organization (ISO) published two museum standards, ISO 18461:2016 - International museum statistics and ISO 21246:2019 - Key indicators for museums, which were developed through close cooperation with International Committee for Documentation (CIDOC) of the International Council of Museums (ICOM). This study aimed to introduce the major characteristics and details of ISO 21246 and to derive practical results for the improvement of museum evaluation in Korea by analyzing ISO 21246. ISO 21246 is the international standard for museum indicators, consisting of six clauses and two annexes. Firstly, This study summarized ISO 21246:2019, compared it with ISO 18461, and analyzed terms and its definitions and each evaluation indicator of ISO 21246. Secondly, this study compared ISO 21246:2019 with museum and library evaluation indicators of the Korean government and other related research. Thirdly, based on that analysis, this study suggested new museum evaluation indicators for the museums of Korea consisting of 48 indicators in 9 categories and proposed various recommendations for Korean museum evaluation policy. This study is significant in a sense that it can usefully function as a complement to Korean museum evaluation policy through examining in detail ISO 21246:2019 which has not been clearly studied in Korea until recently.
{"title":"A Study on the Improvement of the Evaluation Indicators for Museums of Korea: Focusing on ISO 21246:2019","authors":"Tae Yong Eom","doi":"10.52564/jamp.2023.66.177","DOIUrl":"https://doi.org/10.52564/jamp.2023.66.177","url":null,"abstract":"The International Standard Organization (ISO) published two museum standards, ISO 18461:2016 - International museum statistics and ISO 21246:2019 - Key indicators for museums, which were developed through close cooperation with International Committee for Documentation (CIDOC) of the International Council of Museums (ICOM). This study aimed to introduce the major characteristics and details of ISO 21246 and to derive practical results for the improvement of museum evaluation in Korea by analyzing ISO 21246. ISO 21246 is the international standard for museum indicators, consisting of six clauses and two annexes. Firstly, This study summarized ISO 21246:2019, compared it with ISO 18461, and analyzed terms and its definitions and each evaluation indicator of ISO 21246. Secondly, this study compared ISO 21246:2019 with museum and library evaluation indicators of the Korean government and other related research. Thirdly, based on that analysis, this study suggested new museum evaluation indicators for the museums of Korea consisting of 48 indicators in 9 categories and proposed various recommendations for Korean museum evaluation policy. This study is significant in a sense that it can usefully function as a complement to Korean museum evaluation policy through examining in detail ISO 21246:2019 which has not been clearly studied in Korea until recently.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117178951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.52564/jamp.2023.66.35
S. Yeon
Cultural and artistic social enterprises strive to combine cultural and artistic activities with business to promote social value creation and address ecological structural vulnerabilities. The purpose of this study is to identify the various types of social value generated by social enterprises in the cultural and artistic fields. To achieve this goal, we conducted LDA topic modeling analysis to identify the types of social value created by cultural and artistic social enterprises based on their social mission and main business, and used a qualitative approach to understand the characteristics of ecosystem value chain activities and enterprise activities. The study results can be summarized as follows: Firstly, the social values of cultural and artistic social enterprises can be categorized into seven types, including enhancing the art ecosystem, promoting personal reflection and satisfaction, improving personal and community health, resolving local issues and conflicts, enhancing cultural accessibility for marginalized groups, promoting the local economy, and inheriting and developing traditional culture. Secondly, it was found that in the value chain area of cultural and arts social enterprises, they are engaging in activities in the order of exhibition·reception· transmission, consumption·participation, production·creation, and dissemination. Lastly, it was discovered that although many cultural and artistic social enterprises aim to strengthen the artistic ecosystem as their mission statement, the study discovered that their focus in the value chain is on exhibition· reception·transmission. The study results indicate that a diverse and balanced range of activities is essential for the sustainability of the cultural and artistic ecosystem. Therefore, the study suggests the need for expanding the social recognition criteria and incentives policy by the government to promote the social nature of cultural and artistic social enterprises. This study is significant in understanding the social value and role of the social enterprises in culture and the arts and providing direction for the development of a more sustainable cultural and artistic ecosystem.
{"title":"A study on the typology of social values of cultural arts through topic modeling analysis: Focus on cultural arts social enterprises","authors":"S. Yeon","doi":"10.52564/jamp.2023.66.35","DOIUrl":"https://doi.org/10.52564/jamp.2023.66.35","url":null,"abstract":"Cultural and artistic social enterprises strive to combine cultural and artistic activities with business to promote social value creation and address ecological structural vulnerabilities. The purpose of this study is to identify the various types of social value generated by social enterprises in the cultural and artistic fields. To achieve this goal, we conducted LDA topic modeling analysis to identify the types of social value created by cultural and artistic social enterprises based on their social mission and main business, and used a qualitative approach to understand the characteristics of ecosystem value chain activities and enterprise activities. The study results can be summarized as follows: Firstly, the social values of cultural and artistic social enterprises can be categorized into seven types, including enhancing the art ecosystem, promoting personal reflection and satisfaction, improving personal and community health, resolving local issues and conflicts, enhancing cultural accessibility for marginalized groups, promoting the local economy, and inheriting and developing traditional culture. Secondly, it was found that in the value chain area of cultural and arts social enterprises, they are engaging in activities in the order of exhibition·reception· transmission, consumption·participation, production·creation, and dissemination. Lastly, it was discovered that although many cultural and artistic social enterprises aim to strengthen the artistic ecosystem as their mission statement, the study discovered that their focus in the value chain is on exhibition· reception·transmission. The study results indicate that a diverse and balanced range of activities is essential for the sustainability of the cultural and artistic ecosystem. Therefore, the study suggests the need for expanding the social recognition criteria and incentives policy by the government to promote the social nature of cultural and artistic social enterprises. This study is significant in understanding the social value and role of the social enterprises in culture and the arts and providing direction for the development of a more sustainable cultural and artistic ecosystem.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133194873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.52564/jamp.2023.66.141
Moon-Ja Park, Jaibeom Kim
Restoration and exhibition in video art is an important policy consideration due to the timespan of 10-15 years of monitor of cathode ray tube. In particular, works recognized as the artist’s representative work or masterpiece should take into account the conflicting factors of permeance and originality in preservation and restoration. ‘The More, the Better’, arguably the largest piece by master Namjune Paik has recently re-operated after a long pause due to the aging monitor and the technical safety. 'The More, the Better' was installed in celebration of opening of the National Museum of Modern and Contemporary Art in the late 1980s. Along with its long history, 1,003 monitors in the piece reflects the historicity. Difficulty in supplying the monitors of that time demands the measures for restoration to reflect the originality, specificity, and symbolism. Building on the existing literature on the concept of 'Aura' by Walter Benjamin, this study seeks the perpetuality and the originality of the piece 'The More, The Better'. By conducting audience interviews and expert opinions, this paper aims to provide broader perspectives on the restoration of the above video art work. This paper compares three alternative restoration policies concerned with the above art work. Diverse and in-depth discussion will be needed to offer future direction of the preservation and restoration of the video work in the 1980s. This paper deals with the preservation/restoration of media art works by mediaartist Baek Nam-joon, owned by the National Museum of Modern and Contemporary Art, which represents the public nature of art enjoyment. More specifically, this study made suggestions for future video art preservation and restoration policies.
{"title":"An Exploratory Study on the Perpetuality and Originality of Video Art: Preservation and Restoration of ‘The More The Better’","authors":"Moon-Ja Park, Jaibeom Kim","doi":"10.52564/jamp.2023.66.141","DOIUrl":"https://doi.org/10.52564/jamp.2023.66.141","url":null,"abstract":"Restoration and exhibition in video art is an important policy consideration due to the timespan of 10-15 years of monitor of cathode ray tube. In particular, works recognized as the artist’s representative work or masterpiece should take into account the conflicting factors of permeance and originality in preservation and restoration. ‘The More, the Better’, arguably the largest piece by master Namjune Paik has recently re-operated after a long pause due to the aging monitor and the technical safety. 'The More, the Better' was installed in celebration of opening of the National Museum of Modern and Contemporary Art in the late 1980s. Along with its long history, 1,003 monitors in the piece reflects the historicity. Difficulty in supplying the monitors of that time demands the measures for restoration to reflect the originality, specificity, and symbolism. Building on the existing literature on the concept of 'Aura' by Walter Benjamin, this study seeks the perpetuality and the originality of the piece 'The More, The Better'. By conducting audience interviews and expert opinions, this paper aims to provide broader perspectives on the restoration of the above video art work. This paper compares three alternative restoration policies concerned with the above art work. Diverse and in-depth discussion will be needed to offer future direction of the preservation and restoration of the video work in the 1980s. This paper deals with the preservation/restoration of media art works by mediaartist Baek Nam-joon, owned by the National Museum of Modern and Contemporary Art, which represents the public nature of art enjoyment. More specifically, this study made suggestions for future video art preservation and restoration policies.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114534462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This thesis is aimed to identify what the impact factors are that drive digital viewers to want to switch from digital viewing to direct viewing and how that differs between classical music and popular music by monitoring the increasing digital performance viewing phenomenon. A multi-group analysis between genres was conducted based on the Push-Pull-Mooring(PPM) framework: Push factors that push from digital to On-site consisted of Low Satisfaction and Low Enjoyment; Pull factors that attract On-site from digital consisted of Alternative Attractiveness and Subjective Norms; the Mooring factor, which is a personal and social influence, is composed of the Need for Variety and Prior Switching Experience. Firstly, the result of the study shows that the Pull factor and the Mooring factor showed a significant influence on the intention to switch the viewing method from digital to On-site with differences depending on genres. It was confirmed that classical music had Alternative Attractiveness and Prior Switching Experience whereas popular music had Alternative Attractiveness, Subjective Norms, and Need for Variety as impact factors that influenced the switching intention between on-offline. Secondly, the moderating effect of the Mooring factor in the switching process also showed differences between genres. With the popular music group, the Need for Variety and Prior Switching Experience were found to strengthen the relationship between the Pull factor and the switching intention, therefore confirming that these were important factors influencing the switching of viewing methods. The results derived from this study are anticipated to be used as basic research data for establishing the direction of development of the performing arts industry as the switching relationship between digital and On-site is presented based on a new theoretical framework.
{"title":"An Analysis on the Impact Factors for Switching from Digital to On-Site in the Performing Arts: Focusing on the Push-Pull-Mooring Framework","authors":"Haemin Lee, Shik Heo","doi":"10.52564/jamp.2023.66.5","DOIUrl":"https://doi.org/10.52564/jamp.2023.66.5","url":null,"abstract":"This thesis is aimed to identify what the impact factors are that drive digital viewers to want to switch from digital viewing to direct viewing and how that differs between classical music and popular music by monitoring the increasing digital performance viewing phenomenon. A multi-group analysis between genres was conducted based on the Push-Pull-Mooring(PPM) framework: Push factors that push from digital to On-site consisted of Low Satisfaction and Low Enjoyment; Pull factors that attract On-site from digital consisted of Alternative Attractiveness and Subjective Norms; the Mooring factor, which is a personal and social influence, is composed of the Need for Variety and Prior Switching Experience. Firstly, the result of the study shows that the Pull factor and the Mooring factor showed a significant influence on the intention to switch the viewing method from digital to On-site with differences depending on genres. It was confirmed that classical music had Alternative Attractiveness and Prior Switching Experience whereas popular music had Alternative Attractiveness, Subjective Norms, and Need for Variety as impact factors that influenced the switching intention between on-offline. Secondly, the moderating effect of the Mooring factor in the switching process also showed differences between genres. With the popular music group, the Need for Variety and Prior Switching Experience were found to strengthen the relationship between the Pull factor and the switching intention, therefore confirming that these were important factors influencing the switching of viewing methods. The results derived from this study are anticipated to be used as basic research data for establishing the direction of development of the performing arts industry as the switching relationship between digital and On-site is presented based on a new theoretical framework.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122334527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.52564/jamp.2023.66.65
Kusuk Yun
The purpose of this paper is to study the changes in and characteristics of SeMA’s acquisitions of non-Korean artists from 1991 to 2020 through a periodical perspective. In the 1990s, SeMA's collections of non-Korean artists developed around crafts and ceramic art, and artists from Western and select Asian countries were emphasized. In the 2000s, printworks related to the Seoul Olympics made by important global artists comprised the highest proportion of the museum's non-Korean acquisitions, and a wider variety of genres were collected, emphasizing painting and photography. Also, similar to the 1990s, in this period Western and Asian artists dominated the museum’s collection, though non-Western artists increasingly helped to diversify it. In the 2010s, SeMA showed even greater diversification in the artistic genres it collected, including painting, photography, installation, and new media, and emerging global artists were collected. As for the artists’ nationalities, there was a tendency in this period to collect works by multinational artists, including those from the Middle East. In addition, increasing emphasis was placed on ‘Korea’ and Korea-born foreign artists, a trend that had continued from the 2000s. Developing a discourse of globalization centered on local government art museums, this study examines the characteristics of non-Korean artists acquired by SeMA’s from the perspective of time.
{"title":"Study on Changes and Characteristics of the SeMA’s Non-Korean Artists’ Acquisition from 1991 to 2020","authors":"Kusuk Yun","doi":"10.52564/jamp.2023.66.65","DOIUrl":"https://doi.org/10.52564/jamp.2023.66.65","url":null,"abstract":"The purpose of this paper is to study the changes in and characteristics of SeMA’s acquisitions of non-Korean artists from 1991 to 2020 through a periodical perspective. In the 1990s, SeMA's collections of non-Korean artists developed around crafts and ceramic art, and artists from Western and select Asian countries were emphasized. In the 2000s, printworks related to the Seoul Olympics made by important global artists comprised the highest proportion of the museum's non-Korean acquisitions, and a wider variety of genres were collected, emphasizing painting and photography. Also, similar to the 1990s, in this period Western and Asian artists dominated the museum’s collection, though non-Western artists increasingly helped to diversify it. In the 2010s, SeMA showed even greater diversification in the artistic genres it collected, including painting, photography, installation, and new media, and emerging global artists were collected. As for the artists’ nationalities, there was a tendency in this period to collect works by multinational artists, including those from the Middle East. In addition, increasing emphasis was placed on ‘Korea’ and Korea-born foreign artists, a trend that had continued from the 2000s. Developing a discourse of globalization centered on local government art museums, this study examines the characteristics of non-Korean artists acquired by SeMA’s from the perspective of time.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"380 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116476531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There is a growing recognition of the important role that artist residency programs can play in supporting artistic activities in their various forms. This paper examines an experimental residency program that has been in operation for less than two years in Seoul Art Space Sindang. The principal goal of the “S-store” project is to help artists develop products for the art market in cooperation with a major department store. We use Bourdieu’s field theory to analyze the strategies that underlie the operation of this more thoughtful approach to commodifying craft artworks; an approach that involves a mixture of both autonomous and heteronomous principles. Our findings reveal noticeable differences in the perceptions and experiences of the involved artists based on their positions in the field of craft. In particular, well established artists were more interested in the commodification of art and were consequently more actively involved in the project than less well established artists who were more concerned with maintaining the aesthetics inherent to small scale crafts production. Nonetheless, despite these differences, both groups equally recognized the importance of maintaining a pure art status beyond the boundaries of the art market. This study shows the potential and complexity of artist residency programs in helping artists adapt to the market logic of the art industry.
{"title":"Artist Perceptions and Experiences with an Experimental Artist Residency Program: The case of the S-store Project in Seoul Art Space Sindang","authors":"Min Jae Kim, U-seok Seo","doi":"10.52564/jamp.2023.65.5","DOIUrl":"https://doi.org/10.52564/jamp.2023.65.5","url":null,"abstract":"There is a growing recognition of the important role that artist residency programs can play in supporting artistic activities in their various forms. This paper examines an experimental residency program that has been in operation for less than two years in Seoul Art Space Sindang. The principal goal of the “S-store” project is to help artists develop products for the art market in cooperation with a major department store. We use Bourdieu’s field theory to analyze the strategies that underlie the operation of this more thoughtful approach to commodifying craft artworks; an approach that involves a mixture of both autonomous and heteronomous principles. Our findings reveal noticeable differences in the perceptions and experiences of the involved artists based on their positions in the field of craft. In particular, well established artists were more interested in the commodification of art and were consequently more actively involved in the project than less well established artists who were more concerned with maintaining the aesthetics inherent to small scale crafts production. Nonetheless, despite these differences, both groups equally recognized the importance of maintaining a pure art status beyond the boundaries of the art market. This study shows the potential and complexity of artist residency programs in helping artists adapt to the market logic of the art industry.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114918750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-28DOI: 10.52564/jamp.2023.65.73
Songyi Son
This study discusses the characteristics of the work experience and job recognition of curators in some Korean private museums. To this end, in-depth interviews were conducted with 7 curators who participated in the Professional Workforce Training Program for Private and Private University Museums organized and hosted by Ministry of Culture, Sports and Tourism and the Korean Museum Association. In the interviews, their processes of entering the curatorial profession, changes in job recognition, actual labour conditions, and curators’ opinions about organizing a labor union were dealt with. As a result, it was revealed that they have experienced job stress while working in difficult working conditions and environments, such as some unfair labor practices, working overtime, low wages, and job insecurity due to regulations restricting repeated participation in the program. In addition, it is notable that the poor treatment of curators was closely related to the institutional arrangements such as the regulations of the “Professional Workforce” Training Program as a direct job creation support initiative with internship opportunities and its goals, and the operational procedures etc. Despite these working environments and conditions, they expressed their intention to continue their careers in the curatorial field for self-realization and career development with a view to moving to a better job. However, some of the interviewees, including early career curators, due to such unsatisfactory working conditions, thought of quitting their curatorial jobs. The lack of policy considerations for the labor of workers in cultural and creative industry, the lack of voluntary organization established by curatorial staffs, and characteristics of private museums, which are mostly not-for-profit institutions with fewer than 5 employees and suffer from financial difficulties, were limiting factors that have prevented improvement of the treatment of curators working for the private museums. This study brings to the fore the specific problems experienced by curators in the workplace, and reveals that these problems have tended to be overlooked for a long time without improvement, and are intertwined with the government’s human resource policies. Through this, this study suggests that in order to restore the public functions of the private museums, it is necessary to seek specific policy alternatives to improve working conditions of curators in Korea.
{"title":"A Study on Curatorial Workers’ Work Experience and Job Recognition through In-depth Interviews: Focusing on the Professional Workforce Training Program for Private and Private University Museums(2007∼present) hosted by the Korean Museum Association","authors":"Songyi Son","doi":"10.52564/jamp.2023.65.73","DOIUrl":"https://doi.org/10.52564/jamp.2023.65.73","url":null,"abstract":"This study discusses the characteristics of the work experience and job recognition of curators in some Korean private museums. To this end, in-depth interviews were conducted with 7 curators who participated in the Professional Workforce Training Program for Private and Private University Museums organized and hosted by Ministry of Culture, Sports and Tourism and the Korean Museum Association. In the interviews, their processes of entering the curatorial profession, changes in job recognition, actual labour conditions, and curators’ opinions about organizing a labor union were dealt with. As a result, it was revealed that they have experienced job stress while working in difficult working conditions and environments, such as some unfair labor practices, working overtime, low wages, and job insecurity due to regulations restricting repeated participation in the program. In addition, it is notable that the poor treatment of curators was closely related to the institutional arrangements such as the regulations of the “Professional Workforce” Training Program as a direct job creation support initiative with internship opportunities and its goals, and the operational procedures etc. Despite these working environments and conditions, they expressed their intention to continue their careers in the curatorial field for self-realization and career development with a view to moving to a better job. However, some of the interviewees, including early career curators, due to such unsatisfactory working conditions, thought of quitting their curatorial jobs. The lack of policy considerations for the labor of workers in cultural and creative industry, the lack of voluntary organization established by curatorial staffs, and characteristics of private museums, which are mostly not-for-profit institutions with fewer than 5 employees and suffer from financial difficulties, were limiting factors that have prevented improvement of the treatment of curators working for the private museums. This study brings to the fore the specific problems experienced by curators in the workplace, and reveals that these problems have tended to be overlooked for a long time without improvement, and are intertwined with the government’s human resource policies. Through this, this study suggests that in order to restore the public functions of the private museums, it is necessary to seek specific policy alternatives to improve working conditions of curators in Korea.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124515452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-28DOI: 10.52564/jamp.2023.65.169
Sohyun Park
Until recently, there have been constant calls for a complete revision of the Museum and Art Gallery Support Act. At the center is the argument that the legal definition and conceptual system for museums and art galleries should be corrected. This paper tried to clarify why the legal definition, scope of application, and classification system of museums and art galleries are always and still important issues. The government-wide deregulation stance and the quantitative expansion of cultural facilities at the cultural policy level, which began in earnest in the 1990s, were factors that drove the process of enacting and revising the law. In the process, the policy direction of museums and art galleries, quantitative expansion through deregulation, was established, and active adjustment of the legal definition, scope of application, and classification system became the core strategy of deregulation. In other words, the provisions on the definition, scope, and classification system were repeatedly revised to maximize the effect of quantitative expansion by lowering the threshold of legal boundaries of museums and art galleries as much as possible and expanding the scope as possible. As a result, the problems caused by the revision have been repeatedly pointed out since the 2000s, but the revision for the re-establishment of the conceptual system was considered contrary to deregulation and was not made. And the confusion of the conceptual system in law became and amplified the confusion of reality. Based on existing studies, this paper attempted to problemize the confusion caused by the policy stance of deregulation into specific legal issues.
{"title":"Deregulation and the Museum and Art Gallery Support Act: Focusing on the Museum’s Legal Definition and Classification","authors":"Sohyun Park","doi":"10.52564/jamp.2023.65.169","DOIUrl":"https://doi.org/10.52564/jamp.2023.65.169","url":null,"abstract":"Until recently, there have been constant calls for a complete revision of the Museum and Art Gallery Support Act. At the center is the argument that the legal definition and conceptual system for museums and art galleries should be corrected. This paper tried to clarify why the legal definition, scope of application, and classification system of museums and art galleries are always and still important issues. The government-wide deregulation stance and the quantitative expansion of cultural facilities at the cultural policy level, which began in earnest in the 1990s, were factors that drove the process of enacting and revising the law. In the process, the policy direction of museums and art galleries, quantitative expansion through deregulation, was established, and active adjustment of the legal definition, scope of application, and classification system became the core strategy of deregulation. In other words, the provisions on the definition, scope, and classification system were repeatedly revised to maximize the effect of quantitative expansion by lowering the threshold of legal boundaries of museums and art galleries as much as possible and expanding the scope as possible. As a result, the problems caused by the revision have been repeatedly pointed out since the 2000s, but the revision for the re-establishment of the conceptual system was considered contrary to deregulation and was not made. And the confusion of the conceptual system in law became and amplified the confusion of reality. Based on existing studies, this paper attempted to problemize the confusion caused by the policy stance of deregulation into specific legal issues.","PeriodicalId":424388,"journal":{"name":"Korean Arts Association of Arts Management","volume":"20 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123740890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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