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

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.

최근 국,공립 미술관의 한국 근현대 관련 전시기획의 개념과 방법론에 대한 고찰

변상형 한국동서철학회 2012 동서철학연구 Vol.66 No.-

최근 국공립미술관에서 이루어진 전시기획은 규모적인 면에서나 기획의 주제적인 면에서 많은 공통적 의미를 갖는다. 본 연구는 2012년 개최되었던 국립현대미술관의《한국현대미술_대서사 1부》展, 대구시립미술관의《鄕 이인성 탄생 100주년 기념》展, 대전시립미술관의《한국 근·현대미술 특별기획전: 여기 사람이 있다》展을 대상으로 하여, 전시기획의 의도와 방법론 등을 다각적으로 살펴보고 공적미술관의 전시기획에 대한 비판적 고찰을 시도하였다. 현대미술에서 전시가 갖는 의미의 중요성만큼이나 공적 미술관(공공성을 기반으로 한)에서 진행되는 전시의 기획과 방법론은 한 나라의 미술사를 가늠하는 중요한 지표이자 잣대로써 작용할 만큼 주요하기 때문이다. 위에서 언급된 미술관의 경우 공통점은, 1. 한국근현대미술의 재조명을 위한 노력이었다는 점에서 그리고 미술사적 연구를 이론이 아닌 전시현장에서 구현하고 있다는 점에서 전시문화적 측면에서의 성과가 가지고 있었다. 특히 각 지자체 공립미술관이 대규모 전시를 진행할 수 있을 만큼의 기획력 성장과, 감상 대중 또한 점차 근현대 우리미술에 대한 정보와 이해를 공유하기 시작했다는 것을 알 수 있었다. 2. 전시구성을 연대기적으로 구성(국립현대미술관)하거나, 인물중심(대구시립미술관)으로, 또는 주제별로 구성(대전시립)하는 등 차별성을 갖고 고착화된 근·현대 미술전시가 아닌 유의미한 전시를 기획하려 노력한 점이다. 3. 기획의도와는 동떨어진 낙후된 전시 방법론과 여전히 미흡한 전시철학의 문제점을 들 수 있다. 이것은 상술하면, 첫째, 국립현대미술관의 경우 국가를 대표하는 미술관이면서 오히려 서양미술의 관점에서 한국의 근·현대미술을 평가하고자 했다는 점이다. 둘째, 대구시립미술관의 경우, 국립미술관에서 이미 이룬 성과를 바탕으로 순회전 형식으로 협업하여 활용한 점은 긍정적이나 자생적으로 근대미술의 연구성과를 생산해내지 못했다는 점이다. 셋째, 대전시립미술관의 경우, 전시 타이틀에 대한 면밀한 미술사적 의미에 대한 고찰 없이 7개의 키워드를 편의상 선정해, 작가나 작품의 연계성에 많은 문제점을 노출하고 있었다는 점이다. 결과적으로 공공성에 기반하고 있는 공적 미술관으로서의 기획의도가 불충분한 학예연구과 미진한 전시방법론 등으로 관람객에까지 그 기회의 의도가 충분히 전달되지 못하고 전시의미와 성과 역시 공유하기에는 부족한 형편이었다는 것이다. 전시가 갖는 공공성이란 다양한 비평적 논의를 도출할 수 있을 뿐만 아니라 대중적 관심 또한 환기할 수 있다는 접점에 있다. 공적인 미술관에서 가져야 할 철학이 시민사회를 추인하는 타자와의 상생과 조화로운 삶의 지향이라는 공공성(publicness)에 있다고 볼 때 국공립 미술관에서 전시를 기획하고 진행하는 학예사들 역시 이 공공성을 이끄는 역할에 보다 충실해야 할 것이다. 공공재(public goods)로서의 미술품을 다루는 데 있어 감상 대중과의 교감을 위해 보다 다양한 전시 방법론의 개발, 그리고 우리의 근·현대 미술사에 대한 창의적 시각에의 확보가 절실하다. Recent exhibition plans adopted by national and public art museums in Korea have many common points in terms of size and theme. For "Korean Art from the Museum Collection Grand Narrative Part 1" by the National Museum of Contemporary Art, Korea, "The Centennial Celebration of Lee In-Sung's Birth" by Daegu Art Museum, and "Korean Art Special Exhibition; Here Are People" by Daejeon Museum of Arts, this study examines the intensions and methodologies of these exhibition plans multilaterally and investigates the exhibition plans of these national and public art museums critically In contemporary arts, exhibitions are very meaningful, and the exhibition plan and methodology adopted by public art museurms considering a public nature are also very important as indicators and criteria to judge the art history of a country. The first common point found in the above-mentioned museums is that they have obtained fruit in terms of exhibition culture as they have made efforts to re-shed light on Korea's modern and contemporary arts and have realized the study on art history in the location of an exhibition. From this, we can know that public art museums run by local governments have developed their capabilities to plan and hold large-xize exhibitions and that the viewers also have started to share the information and understanding of Korea's modem try to hold differential, meaningful exhibitions, not fixed ones, by designing the structure of an exhibition based on chronology (National Museum of Contemporary Art, Korea), figures (Daegu Art Museum), and themes (Daejeon Museum of Arts). The third common point is that they have problems with the retarded methodologies of exhibitions which are distant from the intentions of the exhibition plans and with a remaining in sufficient philosophy of an exhibition. The third common point can be explained in detail as follows. The National Museum of Contemporary Art, Korea has tried to evaluate Korea's modern and contemporary arts from the viewpoint of Western art even though it is Korea's representative museum Daegu Art Museum has a positive aspect in holding an exhibition in an itinerate form with the National Museum of Contemporary Art based on the results of the national museum but has a negative aspect in failing to produce the fruit of its own study of Korea's modern and contemporary arts. Daejeon Museum of Arts has revealed problems in the connection between keywords and artists or their works in its exhibition by just choosing seven keywords for convenience's sake without examining art historic meanings in the title of the exhibition in detail. As a result, the intentions of exhibitions held by these public art museums failed to be delivered to viewers owing to insufficient study and unsatisfactory exhibition methodologies, and their exhibitions have fallen short of giving meanings and results of their exhibitions to their viewers. The public nature of an exhibition can induce various critical discussions and stir the interests of viewers. When the philosophy a public museum must hold is thought to be in a public nature that pursues a harmonious life and co-prosperity with other people that confirms a civil society, curators who plan and go ahead with exhibitions in national and public art museums must be faithful t their role in leading this public nature. It is urgent that they secure the development of more various exhibition methodologies and a more creative view on Korea's modern and contemporary art history in order to commune with the viewer as those who deal with artistic works that are public goods.

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.

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.

일본 4세대 공공미술관의 건축계획 특징에 관한 연구

윤동식 한국실내디자인학회 2022 한국실내디자인학회논문집 Vol.31 No.1

Along with changes in society and culture, art museums in Japan have also changed. In the 21st century, it was built as an open art museum in an urban space, and it tends to become a place of community in close contact with the daily space of the local area. The purpose of this study is to examine the characteristics of the architectural plan by focusing on the characteristics as an open art museum of public art museums in Japan. For the analysis, the approach and entrance, public space, convenience space, and exhibition space are analyzed for 14 public art museums built after 2001. The analysis results are as follows. First, many public art museums are being built in urban spaces outside of places such as suburban temples, and it is important to plan various approaches and multiple entrances corresponding to the approaches in order to provide easy access in complex urban spaces. Second, the public space is not a space as a moving space that simply connects functional spaces, but a major space that connects the urban space and the space of the art museum and displays the creative activities inside the art museum to the outside, attracting visitors and enhancing the publicness. As such, it is an important factor as the characteristics of the art museum are determined according to the layout of the public space and how to plan the boundary with the city. Third, a convenient space such as a restaurant should be a space that has its own charm rather than a simple resting space in an art museum. Fourth, the open form of the exhibition space changes from a passive form of opening in the 2000s to an active form of opening after 2008. The opening of the exhibition space not only stimulates the local residents to experience art and induces future visits, but also plays an important role as a public cultural facility that gives artistic elements to the urban space.

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.

수정 델파이 기법을 활용한 문화복지 활성화를 위한 공립미술관 설립 및 운영 방안 연구

유운호,이화형,홍아름 한국문화경제학회 2024 문화경제연구 Vol.27 No.2

연구의 목적은 문화복지 활성화를 위한 공립미술관 설립과 운영에 대한 전략을 수립하여, 공립미술관 설립 및 운영 시 필요한 기본계획 수립의 기초자료를 제공하는 데 있다. 문화복지 분야 관련 14명의 전문가 패널을 선정하여, 2023년 7월 1일∼9월 27일까지 총 3차에 걸쳐 수정 델파이 설문을 시행하였다. 수집된 자료는 각각의 하위 요소항목별 내용 타당도 비율(CVR), 평균, 표준편차, 사분위수 범위, 수렴도, 합의도, 변이계수를 분석하였다. 분석 결과에 따라 도출된 요인과 논의 사항은 다음과 같다. 첫째, 공립미술관의 역할과 비전 설정에 있어 지역 문화 강화를 도모하고, 시민 참여와 창작자 육성에 나서야 하며, 문화적 가치를 창출하고, 미술관 브랜드 구축과 정체성 확립을 도모해야 한다. 둘째, 공립미술관 설립에 있어 시민 참여와 니즈를 반영하고, 공간의 예술적 가치와 작품과의 통합적 예술표현을 도모하고, 주변 경관과 어우러지고 역사적 의미가 있는 곳에 적절한 위치할 수 있도록 위치를 선정해야 한다. 셋째, 공립미술관 운영에 있어 지역 문화 특성을 반영한 지속적인 콘텐츠 개발을 통해 미술관 특화 콘텐츠와 연구에 힘써야 하며, 효율적인 예산과 운영이 이루어질 수 있도록 해야 하며, 전 세대와 계층의 문화생활 참여 기회를 제공하여 시민 참여 기회를 강화하고, 전문적 운영과 독립성이 보장될 수 있도록 하여야 하며, 친환경 및 지속 가능한 운영이 이루어질 수 있도록 하여야 한다. 넷째, 문화권 향유 및 문화 격차 해소에 있어 지역 작가의 개성적인 작품이 전시될 기회를 제공하고 지역 예술 생태계 활성화에 기여할 수 있도록 지역 예술인 지원 프로그램을 구축하고, 문화를 통한 교육 실현으로 지역 커뮤니티 성장을 도모하며, 문화와 교육의 통합을 통해 모든 시민과 모든 문화에 열린 공간으로서 미술관을 구축하고 사회적 장벽을 제거하여 문화의 보편성 실현이라는 포용적 운영에 앞장서야 할 것이다. 본 연구를 통해 공립미술관 건립 기본계획 수립 착수 초기부터 각 집단 간 논의가 공립미술관 설립의 시작임을 유념하여야 한다는 정책적 제언과 이 연구에서 도출된 15개 항목을 통해 문화복지 활성화를 위한 공립미술관 설립 및 운영 방안의 기초자료를 제공하였다는 연구의 시사점을 제공한다. The purpose of this study is to establish a strategy for establishing and operating a public art museum to revitalize cultural welfare, and to provide basic data for establishing a basic plan necessary for establishing and operating a public art museum. A panel of 14 experts in the field of cultural welfare was selected, and a modified Delphi survey was conducted three times from July 1 to September 27, 2023. The collected data were analyzed for content validity ratio (CVR), mean, standard deviation, interquartile range, convergence, agreement, and coefficient of variation for each sub-element item. The factors and discussion points derived from the analysis results are as follows. First, in establishing the role and vision of public art museums, Local government must seek to strengthen local culture, promote citizen participation and foster creators, create cultural value, and seek to establish the art museum brand and identity. Second, when establishing a public art museum, the location should be selected to reflect citizen participation and needs, promote integrated artistic expression with the artistic value of the space and works, and be harmonious with the surrounding landscape and appropriately located in a place with historical significance. Third, in operating public art museums, efforts should be made to develop museum-specific content and research through continuous development of content that reflects local cultural characteristics, ensure efficient budget and operation, and provide citizens with opportunities to participate in cultural life for all generations and classes. Opportunities for participation must be strengthened, professional operation and independence must be guaranteed, and environmentally friendly and sustainable operations must be achieved. Fourth, in order to enjoy cultural rights and bridge cultural gaps, provide opportunities for the unique works of local artists to be exhibited, establish a support program for local artists to contribute to revitalizing the local art ecosystem, and promote the growth of the local community by realizing education through culture. In addition, through the integration of culture and education, we must build an art museum as a space open to all citizens and all cultures and take the lead in inclusive operation to realize the universality of culture by removing social barriers. Through this study, the policy implication was made to keep in mind that discussions between each group are the beginning of the establishment of a public art museum from the beginning of establishing a basic plan for the establishment of a public art museum, and the establishment and operation of a public art museum to revitalize cultural welfare through the 15 items derived from this study. It provides implications of the study, which provides basic data for the plan.

A New Museum for New Forms of Art

Hayub Song 대한건축학회 2011 Architectural research Vol.13 No.1

To design and construct a museum of art involves the interest of artists, architects, curatorship, management, and local government. More than this direct relationship, museum obliges the public a mission of delivering genuine public experience through art and architecture. However, most of Modern and contemporary architecture has not delivered genuine public experience of integrated art and architecture. Conceptual message of art and perceptual architectural exhibition space has not been integrated easily. Picture frame canvas initiated this schism and institutionalized museum management hampered the creativity of artists. This schism was overcome through artists’ questioning of museum culture and creative works that embrace work and its environment. In contemporary culture, installation art and media art necessitates a new museum format which needs not only exhibition, but laboratory and interface space with viewers. This paper will regroup the existing museum according to its use and strategy, and reinterpret progressive museums that fosters young artists, and more than this, will introduce successfully established museums for new forms of art, which are equipped with versatile exhibition spaces, innovative interface between works and viewers, and own laboratory that can produce works of art. These examples will envision a creative method of art and architecture production that can achieve genuine public experience.

New Museum for New Forms of Art - Focused on "Museum without Walls", and the relationship between art and architecture -

Song, Ha-Yub Architectural Institute of Korea 2011 Architectural research Vol.13 No.1

To design and construct a museum of art involves the interest of artists, architects, curatorship, management, and local government. More than this direct relationship, museum obliges the public a mission of delivering genuine public experience through art and architecture. However, most of Modern and contemporary architecture has not delivered genuine public experience of integrated art and architecture. Conceptual message of art and perceptual architectural exhibition space has not been integrated easily. Picture frame canvas initiated this schism and institutionalized museum management hampered the creativity of artists. This schism was overcome through artists' questioning of museum culture and creative works that embrace work and its environment. In contemporary culture, installation art and media art necessitates a new museum format which needs not only exhibition, but laboratory and interface space with viewers. This paper will regroup the existing museum according to its use and strategy, and reinterpret progressive museums that fosters young artists, and more than this, will introduce successfully established museums for new forms of art, which are equipped with versatile exhibition spaces, innovative interface between works and viewers, and own laboratory that can produce works of art. These examples will envision a creative method of art and architecture production that can achieve genuine public experience.