• Korean Association of Arts Management
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• no.54
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• pp.5-31
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• 2020

This study has started from the political process of local community power structure to elaborate the reason why both a majority of cultural artists and cultural artist organizations want to be against establishing the local Foundation for Arts and Culture. The cultural artists and cultural artist organizations believe that the establishment of the local Foundation for Arts and Culture might threaten not only their monopolistic status or their livelihood in the local market relying on public supports, but also make them being marginalized from the potential supports. Therefore many of them have somewhat unfavourable opinions about its establishment. Drawing from the Jellabuk-do case, their concern of being isolated from the monopoly by the local Foundation for Arts and Culture are reduced to publicized discourses such as powerization, the lack of expertise, the loss of independence, and the fall of business. When constructing the Foundation for Arts and Culture, the major values are 'Pluralism' and 'Fairness'. On one hand, the terms of Fairness means that it should be fair in operations, support and executive composition. On the other hand, Pluralism means that policy-making rights should be distributed to various groups, not owned by some specific groups. Some plans for building Foundation for Arts and Culture are needed to make diverse classes and groups to expect the pluralistic interests emerged eventually.

• Review of Culture and Economy
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• v.19 no.2
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• pp.121-146
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• 2016

Local governments have absolute authority for the policy and budget. So the backgrounds of local cultural foundation managers vary depending on whether the priorities are close relationship with upper institutions and organizational stability or whether the managers are asked to conduct autonomous management based on professionalism to boost the development of local culture. There are conflicting opinions about managers of local cultural foundations; some argue that administrators are desirable as they can not only maintain close relationship with the local government but also establish and maintain organizational stability. Others argue that cultural art experts are desirable for professional and effective management. However, the conflict and debate kept going on without clarifying objective facts how those completely different backgrounds, such as administrators and cultural art experts, make the characteristics of managers different. In this regard, this study divides the managers of The National Local Cultural Foundations Association into administrator group and cultural art expert group. By comparing and analyzing their characteristics, This study will enhance the professionalism and efficiency of each group.

• Proceedings of the KAIS Fall Conference
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• 2011.12a
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• pp.11-13
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• 2011

본 연구는 일반인들의 서울시 자치구 문화재단에 대한 인식을 유형화하여 사람들의 주관성을 다루고, 구조를 밝혀내고자 한다. 이를 통하여 향후 자치구 문화재단에 대한 지원체계나 관련제도를 마련하는데 근간을 마련하고자하며, 각 지역의 문화수용자에 관한 다양한 논의 및 자치구 문화재단의 운영계획을 수립하는데 기초자료로 활용될 수 있다.

• Social Workers
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• no.8 s.52
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• pp.35-37
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• 2006

최근 한인사회 내에는 이민역사상 최초로 두 개의 지역사회복지센터 건립이 추진되고 있다. 또한 미주 아름다운재단과 2세들이 중심이 되어 창립한 한미지역사회재단(Korean American Community Foundation)등을 중심으로 건전한 기부문화를 형성을 위한 노력이 활발히 진행되고 있으며, 조기교육센터와 청년학교, 지역사회클리닉 등 전문사회복지 및 권익옹호단체들이 속속 생겨나고 있다.

• The Korean Publising Journal, Monthly
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• s.143
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• pp.15-15
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• 1994

아산재단과 집문당이 손잡고 펴내고 있는 '아산재단연구총서'가 벌써 열한권째 나와 있다. 이 연구총서는 관계전문가가 동구권이나 구소련지역을 직접 답사하고, 현지의 자료를 충분히 활용했다는 점에서 다른 연구서와 질적 차이를 느끼게 한다.

• Nuclear industry
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• v.20 no.1 s.203
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• pp.42-44
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• 2000

• Nuclear industry
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• v.13 no.7 s.125
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• pp.90-94
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• 1993

• Korea Petroleum Association Journal
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• s.275
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• pp.74-78
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• 2009

GS칼텍스는 '에너지로 나누는 아름다운 대한민국'이라는 사회공헌 슬로건 아래 기업의 사회적 책임을 다하기 위해 활발한 사회공헌활동을 펼치고 있다. 특히 GS칼텍스는 기부금품 위주로 물질적 지원을 넘어 회사 임직원과 지역사회 고객이 함께 참여하여 사회공헌활동을 펼침으로써, 함께 발전하는 지역공동체를 만들고, 나눔문화를 확산시키고자 노력하고 있다. 이를 위해 GS칼텍스는 지난 2005년 사내에 사회공헌 전담부서를 만들었으며, 2006년 8월, 2006년부터 2015년까지 10년 간 매년 100억원씩 출연해 총 1천억원 규모의 공익사업을 전개하는 GS칼텍스재단을 설립하였다. GS칼텍스는 기존에 회사가 펼쳐왔던 공익활동들을 기반으로 회사가 매년 재단에 출연하는 재원을 더해, 의미 있는 공익사업을 펼쳐나가고 있다.

• Review of Culture and Economy
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• v.21 no.1
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• pp.63-83
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• 2018

In the US, there are no governing bodies within the federal executive departments dedicated to the arts and cultural affairs. Direct government subsidies for the arts are relatively small compared to other countries with a comparable economy and standard of living. Nevertheless, the US produces artworks, artists, and arts groups, leading the world's arts and culture. Incorporating the concepts of network governance and shared governance, this paper examines the dynamic roles and interrelationships among various for-profit/nonprofit arts organizations, foundations, councils, service organizations, arts advocacy groups, and professional/amateur associations from the federal to local levels that compose the ecology of American arts and culture. Through our evaluation, we conclude that the local/state/federal arts agencies and arts organizations at various levels influence each other via the principle of subsidiarity and isomorphism, creating a unique cultural policy and arts-supporting system that correspond to the political and social structure and environment of the United States.

• Journal of Communication Design
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• v.60
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• pp.402-412
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• 2017

Since the 1990s, the role of the government has been shifting towards governance. This new governance emphasizes government's role in establishing a cooperative system with private organizations through network structure and interaction. In the 1990s, Korean Government support for artists and exhibitions increased unprecedentedly. In the 2000s, support for the arts shifted in ways so as to integrate genres. Simultaneously, in order to strengthen the creative capacities of artists, support for new artists, multi-art and fusion arts have increased. From 2010, 'visual arts' business support was provided. In addition, 'visual arts' was supported by a joint planning project from 2013 Also, an overseas residence program has actively supported exhibitions through international exchanges. Since 2005, it has expanded to cooperation with India, Iran and Asian countries as well as with the Betani Studio in Germany. In addition local government supported for artists and the Biennale, residences, regional cooperative business through the local cultural foundation.