현대미술교육의 이론과 쟁점 > 교과교육(각교과교육론)

본 선집은 크게 두 개의 장으로 구분된다. 1장은 사회 변화에 따른 미술교육 이론의 전개를, 2장은 현대미술교육의 쟁점을 중심으로 14개의 논문을 편성했다. 대학 강의 교재로 활용 시 매주 한 주제별로 활용하도록 권장한다. 강의 전 해당 교재를 과제학습으로 읽어 오고 강의 시간에는 각 주제 뒤에 제시된 후속 활동과 질문거리를 중심으로 실제적인 적용 학습을 진행해 보는 방식도 권장사항이다. 제시된 후속 활동과 질문거리는 수업 여건에 맞게 자유롭게 이용할 것을 권유한다. 또는 본 선집에 포함된 내용을 기본으로 추가적인 기존 연구물들을 함께 탐색하고 활용하는 방식도 가능하리라 생각한다. 방대한 한 주제를 한 편의 논문이 완전히 품을 수 없음은 당연하다. 생각과 고민 그리고 확장된 탐구를 위한 동기 부여와 길 안내 목적으로 14편이 수록되어 있으므로 연계된 연구물을 찾아보고 함께 활용하는 것은 필수적일 수 있다. 학부 심화생이나 대학원생을 대상으로 하는 강의의 수준을 고려해서 학습 분량의 적절성을 재고하고 적절히 본 저서를 활용하는 것도 유익하리라 생각된다.

지난 20년간 학술지를 발간하며 미술교육 이론의 역사를 돌아보고 있다. 그리고 현재 미술교육 현장의 쟁점 한복판을 걸어가고 있다. 비록 14편의 임의적인 제안이지만 모두에게 의미 있는 첫출발이 될 수 있기를 바란다. 새로운 도전이 학회의 학술 지원 사업에 새로운 획이 되었으면 하는 기대도 있다. 독자들의 관심과 피드백이 우리들에게는 또 다른 여정을 준비할 시드 머니가 되지 않을까 생각한다. 학문적 공유 사업이 학술적 발전과 미술교육 현장을 선도하는 우리 학회의 설립 취지에 맞게 더욱 가치를 발휘할 수 있었으면 한다. 지속적인 선집 발행 사업을 위해 여러 독자들의 피드백을 부탁드린다.

목차

서문 ··························································································3

Ⅰ 사회 변화와 미술교육 이론의 전개

1. 문화와 미술교육(박정애) ·······························································15

서론 ························································································15

계몽주의에서의 문화의 정의 ······························································17

제국주의의 팽창과 많은 문화들(Cultures)의 발견 ······································19

많은 “문화들”이 전제가 된 미술교육 연구 ··············································22

리좀으로서의 문화 ·········································································25

리좀의 6가지 특성 ········································································27

리좀의 문화/인지에 입각한 미술교육 연구 ··············································34

결론 ························································································35

2. 해석학과 미술교육(정옥희) ····························································45

서론 ························································································45

정체성을 탐구하는 현대미술의 양상 ······················································48

시각적 재현과 주체의 관계에 대한 해석학적 탐구 ······································52

후기구조주의 해석학 ······································································56

미술교육적 함의 ···········································································65

결론 ························································································70

3. 다문화주의와 미술교육(김형숙ㆍ남기현) ············································77

서론 ························································································77

다문화사회의 디아스포라의 문화정체성 ··················································79

문화정체성 함양을 위한 다문화미술교육 실행 ···········································85

연구 결과 ··················································································89

결론 ························································································96

4. 시각문화시대의 미술교육(이지연) ··················································105

미술교육의 새로운 패러다임의 등장: 시각문화 미술교육 ······························105

포스트모더니즘과 시각문화 미술교육의 이해 ···········································107

시각문화 미술교육에 대한 비판의 수용과 실천적 목표 탐색 ··························115

시각문화 미술교육 적용 프로젝트 사례 ·················································126

결론 ·······················································································129

5. 기술혁신과 포스트휴머니즘(안인기) ···············································135

서론 ·······················································································135

포스트휴머니즘 담론 구분 ·······························································138

휴머니즘의 인간중심성에 대한 의심 ····················································142

인공지능을 활용한 작품 사례들 ·························································152

인간/기계/동물의 경계를 허무는 작품 사례들 ·········································155

교육의 문제, 아름다움의 문제 ···························································157

Ⅱ 현대미술교육의 쟁점들

1. 구성주의와 미술교육(이재영) ························································165

서론 ·······················································································165

구성주의와 지식의 본질 ·································································166

지식의 본질에 대한 듀이의 철학적 논의 ···············································175

교육철학으로서 듀이의 탐구이론 ························································183

결론 ·······················································································186

2. 미술교육과 지속가능성(정연희) ·····················································193

서론 ·······················································································193

지속가능발전교육(ESD)의 의의 ··························································195

ESD를 위한 우리나라의 대응 실태 ·····················································200

예술교육 발전목표와 ESD ·······························································203

지속가능성 사고 확장을 위한 예술교육 실천 ··········································208

결론 ·······················································································213

3. 창의성과 미술교육(이민정) ···························································221

서론 ·······················································································221

시대적 패러다임의 변화와 인간의 창의적 사고 ········································224

집단지성과 창의성 ········································································226

리좀, 사유(생각), 예술의 기호와 창의성 ················································228

창의성에 대한 미술 교육적 함의와 과제 ···············································231

결론 ·······················································································232

4. 미술교육과 통합(손지현) ·····························································237

서론 ·······················································································237

구성주의 ··················································································238

통합학문 ··················································································244

구성주의와 통합학문에 기초한 미술 교육과정 ·········································246

결론 ·······················································································253

5. 미술관교육의 변화(정혜연) ···························································259

서론 ·······················································································259

지식 생성이란 무엇인가 ·································································262

연구 사례 및 방법 ·······································································268

지식 생산 공간으로서 박물관/미술관 교육 ·············································268

왜 지식창조의 공간인가 ·································································277

결론 ·······················································································281

6. 미술교육과 생태(고홍규) ·····························································287

서론 ·······················································································287

세계관으로서의 생태 담론과 한국 미술교육에서의 생태론 ····························289

세계관으로서의 생태관에 기반한 미술교육 프로그램의 사례 ··························294

세계관으로서의 생태관에 기반한 미술교육 프로그램 사례의 시사점 ·················306

결론 ·······················································································309

7. 들뢰즈로 읽는 미술교육(맹혜영) ···················································315

서론 ·······················································································315

들뢰즈의 존재의 일의성 ·································································317

존재의 일의성과 포스트모던 미술교육 ··················································324

포용적 미술교육 ··········································································327

결론 ·······················································································339

8. 아동미술과 발달(김미남) ·····························································345

서론 ·······················································································345

사회문화적 관점 ··········································································348

연구 방법 ·················································································349

연구 결과 ·················································································351

수지 그림에 사용된 시각적 표현전략의 선택 이유와 기능 ····························372

결론 ·······················································································374

9. 미술교육 연구방법론(서제희) ························································381

서론 ·······················································································381

융합적 연구로서 예술기반 탐구 ·························································385

미술 중심의 융합적 탐구 실행의 과정 ··················································387

결론 ·······················································································396

찾아보기 ··················································································400

저자소개

박정애

박정애는 현재 공주교육대학교 미술교육과에 교수로 재직 중이다. 홍익대학교에서 회화로 학사학위를 받은 다음 동대학교 대학원에서 미술사로 석사학위를 받았으며 영국의 서리대학교에서 미술교육을 전공하여 박사학위를 받았다. 저서로 『포스트모던 미술, 미술교육론』, 『의미 만들기의 미술』, 『보편성의 미학』 등이 있으며 문화이론과 미술교육에 대한 약 60여 편의 논문을 썼다.

정옥희

영국 런던골드스미스대학에서 미술교육자의 문화정체성 형성과 미술교육 담론 연구로 박사 학위를 취득하였다. 현재 목원대학교 창의교양학부 아트커뮤니케이션연계전공과정 소속으로 미술의 이해와 감상을 비롯한 교양과목과 미술교육관련 이론 강의를 하고 있다. 예술체험이 가지는 인문학적 접근 가능성과 상호학제적인 미술교육방법연구 관련 논문을 35여 편 발표했으며, 현재 연구주제는 패러다임 전환기의 미술교육의 실천 딜레마와 동시대예술교육접근이다.

김형숙

서울대학교 미술대학을 졸업하고, 서울대학교 대학원에서 미술이론 전공 석사 학위를 취득했으며, 미국 오하이오주립대학교에서 미술사학과 석사 졸업 후 미술교육학과 박사 학위를 취득했다. 현재 서울대학교 미술대학 동양화과 교수로 재직 중이다.

남기현

한국교원대학교 미술교육과를 졸업하고, 서울대학교 대학원 미술교육학과에서 석사를 마친 후, 조지아대학교 미술교육과 박사과정을 수료했다.

이지연

한국교원대학교 초등교육과 부교수. 서울교육대학교와 동대학원을 졸업하고 하버드대학교에서 예술교육으로 석사학위, 일리노이주립대학교에서 미술교육으로 철학박사 학위를 받았다. 주요 관심사는 디지털 미술교육, 동시대 현대미술과 감상교육, 인공지능 융합교육, 테크놀로지 기반 미술교육이다.

안인기

서울대학교 및 동 대학원을 졸업하고 교육학박사 학위를 취득했다. 현재 춘천교육대학교 미술교육과 교수로 재직 중이며 시각문화교육, 대안미술교육, 포스트휴머니즘과 미술, 미학 및 미술교육철학에 대한 관심을 갖고 연구하고 있다.

이재영

University of Illinois at Urbana-Champaign에서 미술교육 철학박사 학위를 받았다. 현재 한국교원대학교 초등교육과 교수로 재직 중이며 한국국제미술교육학회 편집장을 맡고 있다. 주요 연구 분야는 미술교육이론, 미술과 교육과정, 미술과 교수-학습, 질적연구, 문화예술교육 등이다.

정연희

한국교원대학교에서 미술교육학 박사 학위를 취득했다. 한국문화예술교육진흥원 본부장, 제2차 유네스코세계예술교육대회 추진단 학술운영부장, 미술교육발전공동대책위원회 사무국장을 역임했으며 현재 공주대학교 미술교육과 교수로 재직 중이다.

이민정

펜실베니아 주립대학교 미술교육학 박사를 취득하고 현재 공주교육대학교 미술교육과 조교수로 근무하고 있다. 주요 관심 분야는 미학과 미술교육이다.

손지현

펜실베니아 주립대학교 미술교육학 박사를 받고 현재 서울교육대학교 미술교육과 교수로 재직 중이다. 주요 관심 분야는 감상교육, 시각문화, 교사 교육 등이다.

정혜연

홍익대 회화과 및 동대학원 졸. Columbia 대학교 예술경영학 석사, 미술교육학 박사(미술관 교육 세부 전공). 메트로폴리탄 미술관 교육과 인턴. 홍익대학교 사범대학 발전기획위원회 위원. 박물관/미술관 교육 저서 및 논문 발표. 전 국제미술교육학회 학술위원장. 사립박물관협회 길위의 인문학 평가위원. 문화예술교육 서울문화재단 꿈다락 프로그램 평가위원. 국립중앙박물관 교육프로그램 평가지표개발 대표 자문위원. 홍익대학교 교육대학원 미술교육과 교수이다.

고홍규

서울대학교 동양화과를 졸업하고, 동대학 대학원에서 미술교육학 석사학위를, 펜실베니아주립대학교에서 미술교육학 박사학위를 받았다. 현재 서울교육대학교에서 미술교육과 부교수로 재직하고 있으며, 환경미술이나 공공미술 등 실천적 미술 활동에 관심을 가지고 여러 편의 논문을 발표하였다.

맹혜영

현재 공주교육대학교 미술교육과 강사이며, 영국 랑카스터 대학교에서 프랑스 철학자 질 들뢰즈의 미학과 한국화에 대한 학제 간 연구로 현대미술 박사학위를 받았다. 경희대학교에서 미술교육과 한국화를 전공하였으며 샌프란시스코 아트 인스티튜트에서 회화로 석사학위를 받았다. 영국 랑카스터 대학과 러프버러 대학에서 페인팅 튜터를 역임하였으며 현재 현대미술교육에서 들뢰즈의 철학을 활용하는 주제로 활발히 학술연구 활동과 작품 활동을 병행하고 있다.

김미남

한양대학교 사범대 교육학과를 졸업하고 서울교육대학교 초등미술교육과를 졸업했다. 미국 펜실베니아 주립대(Pennsylvania State University)에서 미술교육 석·박사 학위를 취득한 후, 미국 캔사스 엠포리아 주립대(Emporia State University) 미술교육과 조교수를 역임했다. 현재 한양대학교 사범대 응용미술교육과 부교수로 재직 중이다. 주요 연구 분야는 아동 및 청소년의 미술발달이며, 특히 사회문화적 맥락을 고려한 미술표현발달 이해에 중점을 두고 있다. 최근에는 디지털 매체를 활용한 표현의 특징을 연구하고 있다.

서제희

서울대학교에서 교육학 박사 학위하고 미국 애리조나대학교 객원연구원을 역임했다. 조형교육학회 기획이사, 한국국제미술교육학회 섭외이사, 한국미술교육학회 서울지역 이사, 한국초등미술교육학회 대외협력위원을 맡고 있으며 현재 홍익대학교 교육대학원 미술교육 전공 초빙교수이다.

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