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Art critiques and ecological perspectives of contextuality, equity, and harmony: Recommendations for Korean art education.

机译：有关环境，公平和和谐的艺术评论和生态观点：韩国艺术教育的建议。

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摘要

The purpose of this study is to draw implications and develop recommendations for Korean art curriculum to achieve education that supports ecological sustainability. To do so, I critique Korean contemporary environmental art and the current Korean art curriculum from an ecological perspective, incorporating values of contextuality, equity, and harmony. Through interviews and document analysis, I particularly focus an ecological art critique on two Korean contemporary artist groups: Baggat Art Group (BAG) and Korea Nature Art Association (KNAA). I analyzed BAG's and KNAA's artworks, exhibitions, and other activities, as well as related research or criticisms in terms of artist groups' conceptualization of the environment and ways each group conveyed ecological concepts. In analysis of the current Korean art curriculum, I focus on nine art textbooks for secondary schools in Korea.;Using an ecological perspective as art criticism to analyze contemporary Korean artworks by KNAA and BAG members, I find that works of BAG and KNAA reflect and advocate ecological values of contextuality, equity, and harmony in different ways. Creating and exhibiting their works with natural materials found in the exhibition site, KNAA endeavors to represent the beauty and spirituality of local nature. Artworks of KNAA convey values of contextuality (i.e., valuing locality), equity (i.e., between human-beings and nature), and harmony (i.e., harmonious relationships between humans and nature). BAG expands and broadens KNAA's conceptualization of ecology in social, cultural, and political life. Similarly to KNAA, BAG creates and exhibits their works with materials found in the exhibition site. However, the messages of the artworks are mostly related to the socio-cultural or political issues of Jara Island, the site of exhibition. BAG brings social and political issues into their works and they raise their voices about those issues. BAG conveys the value of contextuality (i.e., valuing local tradition or culture), equity (i.e., empowerment of all members), and harmony (i.e., embracing diverse perspectives).;Analyzing the current Korean art curriculum as to how it reflects or does not reflect ecological values (using nine art textbooks for secondary schools), I focus on examining the notion of environment, sense of place, and aesthetics embedded in the Korean art curriculum. I find that the notion of environment in the current Korean art curriculum mainly regards physical and visual features of environment. Another finding is that the sense of place embedded in the current Korean art curriculum does not encompass distinctiveness or unique values of local place. Also, I find that the current Korean art curriculum is mainly based upon the perspective of formalism, which emphasizes visual attributes such as color and proportional relationships within artworks rather than contextual meaning.;Finally, I propose three suggestions for Korean art education to be more responsible to practice education for ecological sustainability. First, I argue that Korean art curriculum should convey broader ideas of environment and ecology beyond environment as physical surroundings. Second, I propose that Korean art curriculum guide activities that explore local issues of equity and harmony. Lastly, I suggest that Korean ecological art curriculum interpret environmental responsibility through an ecological lens of contextuality, equity, and harmony.
机译：这项研究的目的是为韩国的艺术课程提供启示和建议，以实现支持生态可持续性的教育。为此，我从生态学的角度批判了韩国当代环境艺术和当前的韩国艺术课程，融合了语境，公平和和谐的价值观。通过采访和文献分析，我特别将生态艺术评论的重点放在了两个韩国当代艺术家团体上：巴格特艺术团体（BAG）和韩国自然艺术协会（KNAA）。我分析了BAG和KNAA的艺术品，展览和其他活动，以及有关艺术家群体对环境的概念化以及每个群体传达生态概念的方式的相关研究或批评。在分析当前韩国艺术课程时，我专注于九本针对韩国中学的艺术教科书；使用生态学观点作为艺术批评来分析KNAA和BAG成员的韩国当代艺术，我发现BAG和KNAA的作品反映并以不同的方式倡导环境，公平和和谐的生态价值。 KNAA使用展览现场发现的天然材料创作和展示他们的作品，努力代表当地自然的美丽和精神。 KNAA的作品传达了语境性（即评估位置），公平（即人与自然之间的价值）和和谐（即人与自然之间的和谐关系）的价值。 BAG扩大并拓宽了KNAA在社会，文化和政治生活中的生态学概念。与KNAA相似，BAG使用在展览现场发现的材料创作和展示他们的作品。但是，艺术品的信息主要与展览地点贾拉岛的社会文化或政治问题有关。 BAG将社会和政治问题纳入他们的工作，并就这些问题发表意见。 BAG传达了情境的价值（即重视当地传统或文化），公平（即赋予所有成员权力）和和谐（即拥抱不同的观点）的价值。；分析当前韩国艺术课程的价值，以反映或表现由于没有反映生态价值（使用9所中学的美术教科书），我着重研究韩国美术课程中嵌入的环境，位置感和美学的概念。我发现当前韩国艺术课程中的环境概念主要涉及环境的物理和视觉特征。另一个发现是，目前韩国艺术课程中所嵌入的位置感并不包含当地的独特性或独特价值。此外，我发现当前的韩国艺术课程主要基于形式主义的观点，强调形式上的视觉属性，例如艺术品中的颜色和比例关系，而不是上下文的含义;最后，我提出了三个建议，以使韩国艺术教育更加负责实践生态可持续性教育。首先，我认为韩国艺术课程应该传达更广泛的环境和生态观念，超越环境作为自然环境。其次，我建议韩国艺术课程应指导探索平等和和谐的当地问题的活动。最后，我建议韩国的生态艺术课程通过环境，公平和和谐的生态视角来解释环境责任。

著录项

  • 作者

    Koh, Hong Kyu.;

  • 作者单位

    The Pennsylvania State University.;

  • 授予单位 The Pennsylvania State University.;
  • 学科 Education Art.;Art Criticism.;Environmental Studies.;Sustainability.
  • 学位 Ph.D.
  • 年度 2013
  • 页码 193 p.
  • 总页数 193
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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