• Korean Architects
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• s.535
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• pp.91-93
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• 2013

• Korean Association of Arts Management
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• no.56
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• pp.89-117
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• 2020

In order to secure sustainable financial resources and to attract more key supporters, today's art museums are trying to further develop individual sponsorship. The purpose of this study is to explore the direction of membership programs by considering membership as the first step for the development of individual supporters for art museums. Although it is not easy to generate substantial profits within a short period through membership, art museums can secure supporters who empathize with and participate in their mission and activities by developing individual supporters through membership. The new trends of support, which has emerged as a stream of "new philanthropy" since the 1990s, indicate that the needs and motivations of individual supporters are changing. This has great implications for the direction of the development and operation of membership programs at art museums. This study investigated the role, method, and direction of the development of individual supporters through membership by conducting a theoretical review and a case study on the membership programs and individual sponsors of art museums. In addition, the study analyzed the cases of the Cleveland Museum of Art, the Art Institute of Chicago, and the Museum of Modern Art in the United States, which have continuously attempted new approaches and improved membership programs based on a long history of membership operation and individual support, by centering on the new attributes of philanthropy, including participation and involvement, accountability, and transparency. Based on the results, implications and suggestions for Korean art museums were derived. Amid the lack of art museums' membership programs and academic research, this study has significance in exploring the direction and prerequisites for membership for the development of individual supporters.

• The Korean Journal of Archival Studies
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• no.82
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• pp.275-309
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• 2024

This study examines artists' acts of resistance in the turbulent social climate of the 1960s and beyond, and considers the meaning of these documents in a contemporary context. It focuses on the Art Workers' Coalition, organised in 1969 by artists, writers, filmmakers and critics. Art Workers' Coalition demanded basic rights for artists in the art world and challenged war, discrimination, and injustice in society at large. Not only did they actively intervene in the structural problems of society through collective actions, protests, and statements, as seen in other acts of resistance, but they also expanded their reach through the medium of art. Studies of the Art Workers' Coalition, which can be considered as activist art of the late 1960s, have mainly chronicled their actions in the context of art history, without paying particular attention to the nature and value of the documentation produced in the process of resistance. However, the archives of Art Workers' Coalition have an informational and evidential value, which is a key value of archives, as they provide information not only about the activities of the organisation, but also about the activities of the individuals who comprised the unions, their intricate connections, and the social climate. In addition to the basic function of proving the activities of a group of artists, the archives of Art Workers' Coalition are also significant as a medium for providing information on people and events that have been marginalised in mainstream studies of artworks and artists, and for incorporating them into historical memory. Therefore, this study aims to identify the current status of Art Workers' Coalition-related archives as a medium to prove the activities of artists of the time, and to propose a different way of reading history through the contextual information of archives.