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Author: M. Xanthoudaki
Publisher: Springer Science & Business Media
ISBN: 9401000433
Category : Art
Languages : en
Pages : 242
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Book Description
Researching Visual Arts Education in Museums and Galleries brings together case studies from Europe, Asia and North America, in a way that will lay a foundation for international co-operation in the future development and communication of practice-based research. The research in each of the cases directly stems from educational practice in very particular contexts, indicating at once the variety and detail of practitioners' concerns and their common interests.
Author: M. Xanthoudaki
Publisher: Springer Science & Business Media
ISBN: 9401000433
Category : Art
Languages : en
Pages : 242
Get Book
Book Description
Researching Visual Arts Education in Museums and Galleries brings together case studies from Europe, Asia and North America, in a way that will lay a foundation for international co-operation in the future development and communication of practice-based research. The research in each of the cases directly stems from educational practice in very particular contexts, indicating at once the variety and detail of practitioners' concerns and their common interests.
Author: Barbara Y. Newsom
Publisher: Univ of California Press
ISBN: 0520309537
Category : Art
Languages : en
Pages : 2255
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Book Description
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1978.
Author: Elliot W. Eisner
Publisher: Routledge
ISBN: 1135612315
Category : Art
Languages : en
Pages : 888
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Book Description
This work provides an overview of the progress that has characterized the field of research and policy in art education. It profiles and integrates history, policy, learning, curriculum and instruction, assessment, and competing perspectives.
Author: Purnima Ruanglertbutr
Publisher: Purnima Ruanglertbutr
ISBN: 099417750X
Category : Education
Languages : en
Pages : 262
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Book Description
This special edition of the Journal of Artistic and Creative Education (JACE) brings together authors from across Australia discussing issues central to the ongoing development and importance of education within museums. What are the distinctive characteristics and significance of museum education? How does learning occur in museums and what does it look like? Who is engaged in museum education and where does it take place? What are some of the benefits of museum education? This edition explores these broad questions through nine articles that individually address the role of museum learning as providing a transformative experience in a rich, ‘hands-on’ and diverse environment. The authors present a wide array of case studies and examples from their institutions and their research, providing practical and invigorating discussions on the purpose, pedagogy and practice of museum education. At a time when there are significant cuts being made to education budgets in Australia, thereby often limiting excursions to museums and other cultural sites, it seems timely to publish a special edition that sheds light on the power of learning in museums and to make a case for museum learning. Moreover, museums are already producing effective learning experi-ences that are highly appreciated by their users, and these deserve to be celebrated. This celebration will hopefully lead to increased appreciation and understanding of the educational possibilities in museums and galleries, of why professionals have chosen to work in particular ways and the outcomes of their work.
Author: Graeme Sullivan
Publisher: SAGE
ISBN: 9781412905367
Category : Art
Languages : en
Pages : 294
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Book Description
'Art Practice as Research' presents a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practice, and contexts of artistic inquiry and positions them within the discourse of research.
Author: Julian Sefton-Green
Publisher: Routledge
ISBN: 1136730044
Category : Education
Languages : en
Pages : 504
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Book Description
The concept of creative learning extends far beyond Arts-based learning or the development of individual creativity. It covers a range of processes and initiatives throughout the world that share common values, systems and practices aimed at making learning more creative. This applies at individual, classroom, or whole school level, always with the aim of fully realising young people’s potential. Until now there has been no single text bringing together the significant literature that explores the dimensions of creative learning, despite the work of artists in schools and the development of a cadre of creative teaching and learning specialists. Containing a mixture of newly commissioned chapters, reprints and updated versions of previous publications, this book brings together major theorists and current research. Comprising of key readings in creative education, it will stand as a uniquely authoritative text that will appeal to those involved in initial and continuing teacher education, as well as research academics and policy specialists. Sections include: a general introduction to the field of creative learning arts learning traditions, with sub sections on discrete art forms such as drama and visual art accounts of practice from artist-teacher partnerships whole school change and reforms curriculum change assessment evaluative case studies of impact and effect global studies of policy change around creative learning.
Author: Emily Pringle
Publisher: Routledge
ISBN: 1315298813
Category : Social Science
Languages : en
Pages : 180
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Book Description
Rethinking Research in the Art Museum presents an original and radical perspective on how research can function as an agent of change in art museums today. The book analyses a range of art organisations and draws on numerous interviews with museum professionals to outline the limitations of existing models of museum research. Arguing for a more democratic formulation in tune with the current needs and ambitions of the art institution, Emily Pringle puts forward a framework for practitioner-led, co-produced research that redefines how knowledge is created in the museum. Recognising that museums today negotiate multiple agendas, the book outlines the value of constructing the art museum professional as a practitioner researcher and their work as a mode of practice-based research, be they educators, archivists, curators or conservators. Locating these arguments within the framework of new museology, critical pedagogy, professional and organisational studies and epistemology, the book offers insights and guidance for those interested in how art museums function and the role research plays within these complex institutions. Rethinking Research in the Art Museum provides a timely and important resource for museum professionals and scholars, students, artists and community members. It should be of particular interest to those invested in exploring how art museums can continue to make the most of their unique resources, whilst becoming more collaborative, inclusive and relevant to the twenty-first century.
Author: Douglas Boughton
Publisher: Teachers College Press
ISBN: 9780807735114
Category : Art
Languages : en
Pages : 360
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Book Description
Author:
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 228
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Book Description
Author: Elliott Kai-Kee
Publisher: Getty Publications
ISBN: 1606066331
Category : Art
Languages : en
Pages : 186
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Book Description
This groundbreaking book explores why and how to encourage physical and sensory engagement with works of art. An essential resource for museum professionals, teachers, and students, the award winning Teaching in the Art Museum (Getty Publications, 2011) set a new standard in the field of gallery education. This follow-up book blends theory and practice to help educators—from teachers and docents to curators and parents—create meaningful interpretive activities for children and adults. Written by a team of veteran museum educators, Activity-Based Teaching in the Art Museum offers diverse perspectives on embodiment, emotions, empathy, and mindfulness to inspire imaginative, spontaneous interactions that are firmly grounded in history and theory. The authors begin by surveying the emergence of activity-based teaching in the 1960s and 1970s and move on to articulate a theory of play as the cornerstone of their innovative methodology. The volume is replete with sidebars describing activities facilitated with museum visitors of all ages. Table of Contents Introduction Part I History 1 The Modern History of Presence and Meaning A philosophical shift from a language-based understanding of the world to direct, physical interaction with it. 2 A New Age in Museum Education: The 1960s and 1970s A brief history of some of the innovative museum education programs developed in the United States in the late 1960s and 1970s. The sudden and widespread adoption of nondiscursive gallery activities during this period, especially but not exclusively in programs designed for younger students and school groups, expressed the spirit of the times. Part II Theory 3 Starts and Stops Two attempts by American museum educators to articulate a theory for their new, nondiscursive programs: the first deriving from the early work of Project Zero, the Harvard Graduate School of Education program founded by the philosopher Nelson Goodman to study arts learning as a cognitive activity; the second stemming from the work of Viola Spolin, the acclaimed theater educator and coach whose teaching methods, embodied in a series of “theater games,” were detailed in her well-known book Improvisation for the Theater (1963). 4 A Theory of Play in the Museum A theory of play that posits activities in the museum as forms of play that take place in spaces (or “playgrounds”) temporarily designated as such by educators and their adult visitors or students. Play is defined essentially as movement—both physical and imaginary (metaphorical)—toward and away from, around, and inside and outside the works of art that are foregrounded within those spaces. Gallery activities conceived in this way respond to the possibilities that the objects themselves offer for the visitor to explore and engage with them. The particular movements characterizing an activity are crucially conditioned by the object in question; they constitute a process of discovery and learning conceptually distinct from, but supportive of, traditional dialogue-based modes of museum education, which they supplement rather than supplant. Part III Aspects of Play 5 Embodiment, Affordances The idea of embodiment adopted here recognizes that both mind and body are joined in their interactions with things. Investigating works of art thus involves apprehending them physically as well as intellectually—in the sense of responding to the ways in which a particular work allows and even solicits the viewer’s physical grasp of it. 6 Skills Ways in which objects present themselves to us, as viewers, and what we might do in response as they fit with the bodily skills we have developed over the course of our lives. Such skills might be as simple as getting dressed, washing, or eating; or as specialized as doing one’s hair, dancing, playing an instrument, or acting—all of which may allow us to “grasp” and even feel that we inhabit particular works of art. 7 Movement Embodied looking is always looking from somewhere. We apprehend objects as we physically move around and in front of them; they reveal themselves differently as we approach them from different viewpoints. Viewers orient themselves spatially to both the surfaces of objects and to the things and spaces depicte4d in or suggested by representational works of art. Activity-based teaching gets visitors and students to move among the objects—away from them, close to them, and even into them. 8 The Senses Both adult visitors and younger students come to the museum expecting to use their eyes, yet “visual” art appeals to several of the senses at once, though rarely to the same degree. Sculpture, for example, almost always appeals to touch (whether or not that is actually possible or allowed) as well as sight. A painting depicting a scene in which people appear to be talking may induce viewers to not only look but also “listen” to what the figures might be saying. 9 Drawing in the Museum Looking at art with a pencil in hand amplifies viewers’ ability to imaginatively touch and feel their way across and around an artwork. Contour drawing by its nature requires participants to imagine that they are touching the contours of an object beneath the tips of their pencils. Other types of drawing allow viewers to feel their way around objects through observation and movement. 10 Emotion Visitors’ emotional responses to art represent a complex process with many components, from physiological to cognitive, and a particular work of art may elicit a wide range of emotional reactions. This chapter describes specific ways in which museum educators can go well beyond merely asking visitors how a work of art makes them feel. 11 Empathy and Intersubjectivity One aspect of viewers’ emotional responses to art that is often taken for granted, if not neglected altogether: the empathetic connections that human beings make to images of other people. This chapter advocates an approach that prompts viewers to physically engage with the representations of people they see. 12 Mindful Looking Mindfulness involves awareness and attention, both as a conscious practice and as an attitude that gallery teachers can encourage in museum visitors. This is not solely a matter of cultivating the mind, however; it is also a matter of cultivating the body, since mindfulness is only possible when mind and body are in a state of harmonious, relaxed attentiveness. Mindfulness practice in the art museum actively directs the viewer’s focus on the object itself and insists on returning to it over and over; yet it also balances activity with conscious stillness. Afterword Acknowledgments
