• Journal of the Korean Society for Library and Information Science
• /
• v.56 no.3
• /
• pp.119-152
• /
• 2022

This study examined the activities of Community of Practice (CoP) of research data curators, including their community building and maintenance activities, by using activity theory as its main theoretical framework. The study used an embedded multiple-case study design for exploring the activities of three CoP of research data curators. The case study design used document analysis and semi-structured interviews to collect data. Besides the community building and maintenance activities, other activities were performed in the CoP of research data curators, which could be largely divided into curation activities, education activities, and communication activities. Membership was largely divided into institutional membership and individual membership, and the motives for members to join and contribute to the CoP vary from extrinsic to intrinsic motivations. Finally, we identified and categorized challenges and success indicators for CoP of research data curators as perceived by participants. In particular, we identified three types of challenges or contradictions the communities faced and 14 perceived indicators of success. This study informs the practice of research data curation by providing a knowledge base for building and maintaining a CoP of research data curators.

• Journal of the Korean Society of Costume
• /
• v.58 no.5
• /
• pp.1-12
• /
• 2008

Although the curator system of South Korea officially started in 2001, it has not taken root yet. Because most active curators do not have a certificate, concerned scholars are making efforts to complement and establish the curator system. Although there are currently numerous museums and art galleries that own a number of costumes and textiles in Korea, the number of curators who majored in the history of costume is very low. Despite the growing importance and the increase in costume-related exhibition than any other fields, this shortage of qualified curators resulted in the lack of specialty for the management and exhibition of past costumes. To solve this problem, there needs to be more hire for curators, in proportion to the possession and exhibition of costumes, who major in the history of costume. The history of costume must also be part of the curator test and be required even for the internship. And there must be education for curators who currently deal with costumes without having majored in the study of costume, history of costume students who want to become a costume-related curator in the future, and the general public. The contents for education must include the knowledge of artifacts, theories to enhance the management capacity, and practice in the museum.

• The Journal of Art Theory & Practice
• /
• no.3
• /
• pp.67-84
• /
• 2005

Since the evaluation of its intellectual activities and abilities is done by curator's capabilities, planning exhibition is very important as the final result achieved by their own knowledge, information, and research. ARPA(Advanced Research Project on Arts) is suggested as the system which enables curators responding simultaneously to the society in the times, based on its special characteristics. If this system settles well, which means that the curators at NMCA(National Museum of Contemporary Art, Korea) play their roles as the professionals in each of their fields, the goal of consolidating the status of museum as the representative national museum, and building up competent department of curators, will be achieved at the same time. To clarify above, the curators set up the various assignments of research about the types of arts such as painting, Korean painting, sculpture, installation, new-media, design, craft, photogarphy, architecture, etc. And they establish the art objects classified by the regions, such as the Northern American, Southern American, European, Asian, and other Third World countries. They elaborate art objects more on the history, the work, the artist, and the issue of contemporary art. Furthermore, when the curators devote deeper study to those research subjects, they can have the opportunities to design an exhibition upon the research. Today, the museum of art is 'The Place for Communication and Encounter', it is regarded important to share the aesthetical, creative values with current artists, and to understand mutually with the spectators. It is needed to improve the curator's work, in order to meet the demands of the times and even to advance. Because the form of 'exhibition' is the tool that reveals the identity NMCA aiming at, the motivation, the development, and the realization should be leaded by the curators, who are the mainstream of the museum. ARPA is a system for identifying the exhibition like mentioned above. The main purpose of this system is to produce synergy effect, having the researching, collecting work in liaison with planning exhibition. ARPA will be able to improve the quality of exhibition through the way of developing the exhibition, passing through the stable process in the long run. So far, I have referred to a new paradigm of the exhibition design at NMCA via ARPA. Yet, there still remain missions in reality, such as analyzing the previous exhibition and reshuffling personnel and system, which should be done. When these matters settled, these plans would be suggested practically. At this point, it is the most significant that NMCA is attempting to let others aware of the importance of exhibition planning based on research. when the ARPA and exhibition planning is conjoined together successfully, the competent exhibition will be achieved, which can offer a meaningful exhibition to the art world, strengthen infra structure thru exchanging with public museum in the region, and eventually, establish a network with museum in foreign countries.

• Journal of Contemporary Eastern Asia
• /
• v.22 no.2
• /
• pp.1-17
• /
• 2023

The focus of this research is the practice of journalism in relation to the Behavioural Change Journalism Fellowship (JFPP) during the COVID-19 pandemic in Indonesia. Journalists and curators who are participants in the Behavioural Change Journalism Fellowship received fundings from the state. The Behavioural Change Journalism Fellowship is a unique model because it is the only one in the world in journalism practice that involves state's financial assistance during the COVID-19 pandemic. These fundings from the state for the media lead to dilemmas and controversies. This research uses a qualitative approach and a single holistic case study method. The Behavioural Change Journalism Fellowship was held from May to December 2021, involving 7,276 journalists from 857 media (print, television, radio, and online media) and 26 curators. This study found that during the Behavioural Change Journalism Fellowship, journalism experienced a crisis and lost its function as a control overpower. Giving cash to journalists and curators during the fellowship makes journalism lose its independence and objectivity. The Behavioural Change Journalism Fellowship has degraded or eliminated the function of the press as a watchdog. Incentives for journalists while participating in the Behavioural Change Journalism Fellowship is a long-term investment by the government to co-opt Indonesian media and journalists in the future. On the other hand, the Behavioural Change Journalism Fellowship raises another aspect; the crisis of journalism. Journalism work produced in the Behavioural Change Journalism Fellowship does not reflect the values and principles of journalism. Journalism values, such as independence and impartiality, are absent from the Behavioural Change Journalism Fellowship product.

• The Journal of Art Theory & Practice
• /
• no.3
• /
• pp.51-66
• /
• 2005

With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and galleries but also by private galleries, alternative spaces and open-air exhibition spots are being increased. Likewise, the number of exhibitions organized on a large scale by Biennales and local governments is on the increase. In accordance with actual tendency, the Ministry of Culture and Tourism has planned to increase the number of museums and galleries up to 500 by the year of 2011. Under these circumstances, the actual situation shows that the central and local governments are adopting beneficial measures to support the private galleries such as permission of construction on green belt areas and tax deduction. That is, our society has come to realize that the necessity and importance of public as well as private galleries to play their roles as cultural and educational institution. Now, the number of galleries is growing. Exhibitions are held everywhere. Therefore, spectators have more chance to visit them than before. With these conditions and the growing number of amateurs, social interest in curator organizing exhibitions is getting popular. Because of the rise of curatorial popularity on the social level, the influence of curators which is exercised within the gallery seems to become gradually enlarged. In reality, it is true that the curatorial influence cannot be ignored more than ever for appear in various fields their new features made from their professional cometence. The function of gallery is more strengthened and its position is more heightened than those in 80s. For these reasons, the curators whose playground is the gallery, they may be regarded as invisible power to the artists. Futhermore, their influence as such seems to be more likely because our world of art does not still have any reliable system of art criticism. Nevertheless, considering the actual situation in which national and public galleries as cultural institution would rather exist on the local sentiments or political dynamics than on autonomy, there must be some restrictions for the galleries and the curators to obtain the power. In this context, the actual moment is looked upon as transitional period to make the curatorship settled down. Before discussing the power relevant to curatorship, we are going to examine first the role and function of curator and then the new curatorial role and function at the age of information. Finally, we will see in sequence the development and problems of curatorship, the power and dilemmas of curator.

• The Journal of Art Theory & Practice
• /
• no.3
• /
• pp.85-106
• /
• 2005

As biennale exhibitions has been expanded into all of the world since 1990s, these trends of blockbuster exhibitions have caused several problems. For instance, some major curators monopolized most global size exhibitions despite of a variety of cultural and historical backgrounds. Besides, due to a strong connection between these curators and their own artists, the young emerging artists' opportunities tend to be reduced as a result of the power game. In addition, major curators' power have influence on the exhibition style as well as on the theme itself. Some artists who did not involved that kind of huge scale exhibitions dispute that the direction of the exhibition is concentrating on the curator's interest instead of artists or viewers. Although these dissatisfactions could not portray correctly the process of organizing and managing system of a biennale exhibition, those biennale exhibitions held in recent have shown tautologic discourses without any passion and positive attitude direct to the exploitation of our society as a vanguard. In the process of comparing several kinds of biennale exhibitions, I could find that some artists who participated several biennale exhibitions at the same time did not present their creative vision, although the triumph of an exhibition was typically measured by the amount of visitors. Thus, the aim of this article is to prove that the biennale can show us new cultural discourse as well as progressive method of understanding our times. Is biennale producing the real 'global standard'? If biennale has done it, could this global standard present upto-date paradigm for the unique exhibition system? Is biennale providing an useful opportunity for the understanding and communicating of contemporary art through the recontextualization which is pronounced by the publicity of curator and organizing committee? How can we find the distinctive strategy from each biennale exhibition including Venice Biennale? Biennale, as a blockbuster exhibition, always requires a degree of hype, otherwise it would not be a special event and would not attract a big enough audience. It is the actual reason why major biennale exhibitions seem to be similar artistic events. Unfortunately, it seems that the excess of biennale exhibitions might bring about the lack of contents. In this case, the biennale syndrome would being a kind of the center of poverty, in spite of the visual splendor. After all, following the global standard may not be a matter of great importance now. What really matters is how each biennale exhibition which started under the different conditions can search their own identity.

• Korean Institute of Interior Design Journal
• /
• no.40
• /
• pp.117-125
• /
• 2003

If the collection of exhibit objects as well as exhibit planning are not in accord with the overall purpose of the exhibit, it will be difficult to attain satisfactory results. The present study focuses on the exhibit evaluation. The exhibit evaluation is very important because it allows the whole process of exhibit development to be reviewed, and it can point a way towards improving the exhibit. Research was conducted by literature review for the museum evaluation methods and by survey for the status of Korean exhibit evaluation. Several Korean History Museum Exhibitions were targeted as cases for this study. Structured and open-ended interviews with 70 museum specialists including curators and exhibit designers were conducted. In conclusion, museum evaluation methods were timely arranged first; front end analysis, second; formative evaluation, third; summative evaluation. Through the survey, one forth of museum specialist didn't have the concept of the exhibit evaluation. However they felt the importance of it.

• 대한공업교육학회지
• /
• v.30 no.1
• /
• pp.120-132
• /
• 2005

The major purpose of this study was to provide a basic model of mobile guide system for visitor's individual learning, self-regulated learning in a museum. System model realized by this study was as follows; 1) This system distributed exhibit information to tourists in place of existing audio guides or curators. Using wireless communications, the PDA automatically delivered information about the exhibit. The artistic and visual displays maximized effective and quick transmission of information to the user. 2) It made visiting a museum fun, exciting and entertaining. With the PDA guide the museum visitor can interact with detailed descriptions of exhibits, videos and images. The museum visitor, can also play a quiz game, take photos, record voices and send e-mail.

• International Journal of Contents
• /
• v.7 no.3
• /
• pp.48-59
• /
• 2011

The present thesis is on a construction of the system which supports exhibition evaluation of curators, which automatically collects, keeps, and totalizes objective data on visitor behavior in museums, and which comprehensively displays the results by tables and graphs. The system is composed by access points and mobile exhibition exposition devices in the museum operating together. Obtainable visitor information include a user number, an average staying period, contents use hour, and exhibition viewing frequency. Prototype experiment at museums shows that the system is effective in efficient data collection and exhibition evaluation and is expected to become an information collecting tool for visitor research and an exhibition evaluation tool for exhibition improvement.

• Journal of The Korean Association For Science Education
• /
• v.24 no.2
• /
• pp.357-374
• /
• 2004

This paper described the types and characteristics of educational programs in major natural history museums of the world. Data were collected from the websites, annual reports, and written materials of the Natural History Museum at London, Australian Museum at Sydney, Field Museum of Natural History at Chicago, Smithsonian Museum at Washington D.C, Royal Tyrrell Museum at Canada and American Museum of Natural History at New York. As the result of this study, we presented ten types of educational programs, which were moveable museums, workshops, lecture/courses, festival/events, discovery activities, scientific exploration/research projects, field trips, youth curators/internship, loan materials and camp/tours. We also described the examples equivalent to each program type. The characteristics of educational programs provided by museums as informal learning settings were analyzed in terms of their themes, participation levels, connection with exhibition, relation to curriculum, and learning activity levels. Information in this paper will assist science teachers, museum educators and curators: (1) to design and implement various types and contents of educational programs; (2) to use characteristics of educational programs to assess and develop them; (3) to make important contributions to science education that involves the introduction of various scientific aspects and collections to the public, and the use of programs for science learning and teaching coherent to existing curricula.