“I Was Skeptical at First”: Content Literacy in the Art Museum (original) (raw)
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(White Paper) Is it an Art? A Case Study of Teaching at the CU Art Museum
The Association of Academic Museums and Galleries positions university museums within the broader museum context as follows: While all museums are educational in purpose, academic museums are unique in their mission to teach and train succeeding generations of students. We couldn’t agree more. The CU Art Museum is a vital resource for object-based pedagogy at CU Boulder, providing opportunities for formal learning and curricular engagement beyond the typical classroom. The art museum fosters a participatory learning environment through its collection and staff, creating a bridge between academic research and professional practice. By supporting and expanding curricular activities, the art museum upholds values outlined in the chancellor's strategic imperatives to shape tomorrow's leaders by "understanding, sharing and engaging diverse perspectives," and positively impacting humanity through "broaden[ing] and expand[ing] research, scholarship and creative work and articulat[ing] the positive societal outcomes they advance."
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Journal for Learning through the Arts: A Research Journal on Arts Integration in Schools and Communities, 2017
Recent education policy designed to promote arts education tends to focus on how such curriculum supports "skills for innovation" required for success in the global economy. Emphasis on the transfer of arts-based learning to professional innovation and achievement, a dynamic that is difficult to determine, can undermine the value of teaching the arts for their own sake. Three professors at the State University of New York at New Paltz discuss curriculum they developed to take advantage of museum learning opportunities that promote critical thinking, foster innovation, support course content, and increase students' sense of citizenship and belonging. Jennifer Waldo, a professor of biology, Dennis Doherty, a professor of English and creative writing, and Sarah Wyman, a professor of 20 th century comparative literature, use their campus museum as an applied learning environment where they facilitate interdisciplinary, experiential educational activities that develop student agency and encourage imaginative inquiry. The professors comment on their curriculum, their crossdisciplinary conversations, student reactions, and indicators of transfer. In addition, they present a strategy for assessing student-learning outcomes within a context that values the visual arts as fundamental to liberal arts and sciences education.
UMAC Journal, Vol. 10, 2018
This article identifies and analyzes key factors that have contributed to the extensive integration of the Allen Memorial Art Museum's encyclo-pedic collection into Oberlin College's curriculum. These factors include support from the college administration; visionary museum leadership ; funding to initiate and sustain interdepartmental programs and hire staff dedicated to academic outreach; structures to equip faculty with basic art historical knowledge and skills; customized art pedago-gies to match teaching and learning needs, and making collections physically, intellectually, and digitally accessible to the academic community. The article further suggests strategies for initiating and building robust academic programs at other academic museums.
Teaching from Objects and Classics in a College Art Gallery
The Daura Gallery exists to support the mission of Lynchburg College by being a resource for teaching through the collection, care, interpretation and exhibition of works of art. This paper examines the Lynchburg College undergraduate museum studies program, which combines teaching from the objects in the Daura Gallery collection with the Lynchburg College Symposium Readings, Classical Selections on Great Issues (LCSR). This innovative program connects ideas and objects, and develops critical thinking skills through readings by such diverse authors as Thorstein Veblen, Leo Tolstoy, Chief Joseph and Elie Wiesel. These readings foster discussion of the theory and practice of museum education, exhibitions and programming; ethical standards for museums; issues of sensationalism and pornography; government support of the arts and humanities; the Native American Graves Protection and Repatriation Act; the repatriation of Holocaust-era assets; and other current legal and ethical issues.
Impact of Art Museum Programs on Students Literature Review.pdf
Art museums offer unique aesthetic, contextual, and social settings for exploration and human understanding (Levent & Pasqual-Leone, 2014; Ritchhart, 2007). Seeking to build field-wide knowledge about the potential of art museums as places where learning and discovery happen, the National Art Education Association (NAEA), in partnership with the Association of Art Museum Directors (AAMD), undertook this review of the literature as a step toward conducting the first major national study in the United States on the impact of single-visit art museum programs on K-12 students. Focusing on children in grades 4-6 and on experiences that take place during single-visit programs, our investigation seeks to explore a central question: What are the benefits to students of engaging with original works of art within the distinctive physical setting of art museums when students are guided in their experiences by means of inquiry-based pedagogies? The literature review is one of several activities conducted during the planning year for the larger study, all of which were possible through the generous support of the Samuel H. Kress Foundation, with the intention: ● to surface research directly related to our investigation; ● to help us assess the relevance of a national study; ● to guide and inform the design of a major empirical study; ● to situate a future national study within the larger context of research related to constructivist and inquiry-based pedagogies, engagement with original works of art, and aspects of learning in museum environments; and finally, ● to provide the field with a resource that, in turn, stimulates further research.
“Inspired to Be Creative?”: Persons, Objects, and the Public Pedagogy of Museums
Anthropology & Education Quarterly, 2015
Download date: 24. May. 2020 'Inspired to be Creative?': 'persons', 'objects' and the public pedagogy of museums. Museums and galleries have come under increasing pressure from policy agendas in the last decade or so to justify their existence as 'public' institutions through their roles as educators. In the past this function may have been seen to operate implicitly through the display of artifacts, or the curation of exhibitions. However, the 'educational' remit is now being made much more explicit through the creation of museum Education Departments whose job it is to privilege 'learners' over 'objects ). These departments organize tours, lectures, classes, workshops and events but are also developing on-line learning spaces, interactive displays and working towards digitizing their collections to address issues of access. While there has been some research on the use of new technologies as a way of engaging and educating the public about museum collections, there has been relatively little attention paid to more conventional practices such as classes and workshops . These attempt to bring about a participatory role for the public by concentrating either on the 'appreciation' or 'interpretation' of artifacts in the collection, or on how those artifacts can be used to inspire personal creativity. This paper takes as its focus one adult creative writing class based at a major urban art gallery in the United Kingdom. This class meets once a fortnight, alternating between a tour of exhibitions and a session where pieces of writing completed in the intervening period are shared and commented upon. Its pedagogical aim is to facilitate an 'inspirational' encounter between class members and the museum's collection of art objects, an encounter that will result in the creation of another kind of art object -a literary text.
Teaching Visual Culture: Curriculum, Aesthetics, and the Social Life of Art
2003
THIS BOOK IS ABOUT THE INTERSECTION OF ART AND education at all levels. In a sense, art is an education. Art is communicative and can help people understand aspects of the world that they could not gain access to through other means. A work of visual art can even teach people how to look at itself superficially. Many examples of the visual arts have surface qualities that are understandable without the need for formal instruction. Those visual qualities that interact with our biological processing systems to enable humans to live in and adapt to new visual environments have enabled us to survive since early human history, and now allow us to process realistic imagery quickly. Even young children can interpret those surface visual qualities. However, those visual qualities are not what define visual forms as works of art and culture. It is not the fact that we can see and interpret basic forms that makes them worthy of academic study. Rather, it is the amazing human capability that enables people to make images and objects that other people want to look at, create meaning from, and come to value. Although the potential for making things is "hardwired" into our brains, the skills and concepts needed for creating, understanding, valuing, and critiquing the visual arts are learned. The process of learning to make and adequately respond to the complexities of the visual arts is unlikely to occur without guidance. Unless people are given instruction, they may never get beyond the surface of the images and designed objects they see every day. When students develop a deeper understanding of their visual experiences, they can look critically at surface appearances and begin to reflect on the importance of the visual arts in shaping culture, society, and even individual identity. Unfortunately, most people have no formal art education after early adolescence and many have no instruction in the visual arts at all. Insufficient art education is a concern not only because the visual arts have been historically important, or because the visual arts are important as forms of human expression, but because much contem-Introduction xi xii levels of education and has been illustrated by the organization of the visual arts fields. The separations between primary, secondary, and higher art education and between the art education in schools and other cultural locations, such as in museums, in community programs, and on the web have long been problematic. Course boundaries based primarily on differences in media techniques now make less sense at a time when many professional artists regularly switch media, and the separation of fine arts from popular arts reduces opportunities for studying their connections. Advancing knowledge of visual culture depends on good foundations at all levels, including connections as well as distinctions between and among forms, ideas, and processes of visual culture.
After the turn: art education beyond the museum
Edited by Michael Birchall & Philipp Sack With contributions from the Vagabond Reviews, Megan Johnston, Lena Seik, Amanda Cachia, WochenKlausur, Yet Chor Sunshine Wong and illustrations from Dan Perjovschi. Issue 24 of On Curating presents a series of essays on contemporary education and public programmes that are taking place in various locales, using case studies and theoretical perspectives to describe and discuss the conditions of implementing educational strategies, because or despite of their embeddedness in hegemonic discourses on the relation of art and its public. The shift that curatorial practices in art institutions have undergone in the last two decades has often been characterized as a movement from authoritative discourse toward education, from the transmission toward the production of knowledge. Whether we believe in its sincerity or not, what is labelled as the 'educational turn' has become a reality in the art world. Curators, educators, artists and community arts practitioners increasingly program events, both in the short and long term. What have institutions done to cater to the needs of an ever more demanding public? What are the methodologies and models used in institutions? How can we analyse the tactics employed to deal within institutional frameworks?