This case study is an analysis of the art criticism of one undergraduate and eight graduate art education students about the work of contemporary artist Robert Rauschenberg. The purpose of the analysis is to identify the students' use or nonuse of four thinking strategies found in the practice of three professional art critics and to assess implications for classroom art criticism.
Visitors to art museums vary on a number of a dimensions related to how they construct their museum experience. The visiting preferences and intentions of a sample of visitors to the Metropolitan Museum of Art were examined by having them respond to a survey as they entered the Museum. Visitors were presented with a set of nine contrasting statements (e.g., “I know how I like to look at art” and “I would like to learn more about how to look at art”.) separated by a six-point scale. Responses to the statement pairs indicated wide variability on items concerning whether visitors liked to look at
The contemporary approach to art education focuses on content that is derived from a broad range of the visual arts with an emphasis on what can be learned from works of art. This is a significant departure from earlier aesthetic approaches which led to purely formalist criticism in the classroom. Based on the work of Arthur Danto, the author proposes that teachers develop student abilities to go beyond the visual level of artworks and enable them to gain access to the complexity of meanings that works of art possess. To exemplify this practice, an analysis of Adrian Piper's work entitled I
This paper describes the evaluation questions that drove two front-end studies conducted by Randi Korn & Associates (RKA) that were not in art museums. This paper also addresses of exhibition development with significant implications for front-end evaluation in the context of the studies. Then, the discussion returns to exhibition development and evaluation in art museums. Following this more abstract examination of the topic is a discussion of two front-end studies conducted by RKA at the Detroit Institute of Arts in 1996, looking at how the process worked there and what benefit the staff
In this paper, Sanford S. Shaman, of the Gallery of Art at the University of Haifa, discusses the spiritual void in contemporary art that accounts for the art's inability to communicate with visitors. Shaman describes how this lack of spiritual content renders much of today's art private and non-communicative in the eyes of many critics.
In this paper, Margaret M. Ropp of the Michigan State University Museum discusses a study that explored visitors' experiences with the exhibit, "Ethiopia: Traditions of Creativity" and the role that the video interpretation played. The exhibition team was concerned that African art is often seen as primitive, anonymous, and devoid of creativity, so they developed individual videos for the 11 featured artists in an effort to counter those stereotypes. The major finding is that the videos helped the visitors who watched them to connect the creative process, the artist and the final product
In this paper, Robert C. Webb, of Suffolk University, presents literature related to much-debated topic about using music in an exhibit. In particular, Webb discusses four topics of interest to museum professionals: (1) the complexity of the term "background music" (2) the roles and uses of mood created by music (3) the use of music to cue appropriate behavior and perceptions and (4) the influence of background music on the comprehension of verbal material.
In this paper, researchers at Universidad Autonoma de Madrid discuss their evaluation study of the Tiphlologic Museum, a special project of the National Organization for Blind people in Spain. Key study objects, methodology, and findings are defined.
In this article, M. Hagedorn-Saupe discusses visitor-related research efforts at the Institute fur Museumskunde in Berlin. Hagedorn-Saupe provides an overview of data collection studies on museum visits and related projects, visitor research projects and collaboration with other institutions, and long-term projects at the Institute.
Science Museums of Charlotte, Inc. will develop a 5500 square foot traveling exhibit on SCIENCE of FASHION for the Science Museum Exhibit Collaborative (SMEC). Opening in February 1994, SCIENCE of FASHION will tour eight major U.S> cities over thirty-two months, introducing 2.5 million people to principles of chemistry, physics, biology, mathematics, and technology that drive the textile industry. SCIENCE of FASHION integrates diverse disciplines and will help public explore science in a wholistic manner. Because the subject matter is somewhat unusual fare, SCIENCE of FASHION will help diversify audiences, drawing in population segments, particularly women, who may not normally visit science museums. SCIENCE of FASHION is an eloquent vehicle for science-rich exhibitry which teaches the mathematics of pattern geometry, production statistics, and retail costs, polymer chemistry for engineering new fabrics, the genetics of new natural colors and strong aware fibers, and the sophisticated research, robotics, and computerized technologies that keep America's textile industry at the top international commerce. Rigorous evaluation will ensure a satisfying product that is educationally-effective, durable, and appealing to a broad public audience. SCIENCE of FASHION will be a worthy addition to the rich menu of science fare in SMEC exhibitry.
The Exploratorium will develop a hands-on, interactive, traveling exhibit "Garden of Complexity: Self-Organization in Nature." "Using the metaphor of a garden (a universally appreciated symbol of beauty and contemplation)" and arguing "that the essence of science is to extract organized observations from the complexity of nature," this exhibit will allow visitors to observe some of the self-organizing systems in a quiet, contemplative environment. The exhibit will be about pattern and how the natural world emerges into states that are perceived as pattered or organized. Four sub-sets of this theme will be explored; organization into patterns; surface effects - rubbing and flow; rotation, circulation, vortices, and the granular state - a different state of matter. Both existing and new artworks/activities will be used in this exhibit. The new additions will be created by individuals in the Exploratorium's Artists-in-Residence program. Their creations are both aesthetically and educationally interesting. In addition, the exhibit developers will experiment with new techniques in exhibit interpretation and they will develop activities that provide linkages with formal education. The exhibit will be circulated by the Association of Science and Technology Centers to nine sites over a three year period. It is estimated that it will reach 2.5 million people.
This is a comprehensive project about the science behind special effects in the motion pictures. WGBH, in association with eighteen museums in the Museum Film Network, will produce a 35 minute IMAX/OMNIMAX film showing the behind-the-scenes story of a group of filmmakers at Industrial Light and Magic (ILM) as they create a special effects sequence in the IMAX/OMNIMAX format. The film will illustrate how the eye and brain work together to process cinematic illusions. The California Museum of Science and Industry (CMSI) will create a 6,000 sq. ft. traveling exhibit that will focus on the science and technical processes of special effect. The exhibit will travel to fifteen other museums. A smaller scale lobby exhibit also will be developed for display in the cueing areas of IMAX/OMNIMAX theaters that are showing the "Special Effects" film. A collaborative educational outreach program will extend the reach of both the film and exhibit. The project will be managed by the NOVA production unit at WGBH under the direction of Paula Apsell. Ms. Apsell also will serve as Executive Producer for the IMAX/OMNIMAX film. Diane Perlov, Curator of Exhibitions at CMSI, will supervise the exhibit portion of the project. Kenneth Phillips, Curator of Aerospace Science at CMSI, will develop video interactives and oversee scientific content of the exhibit. Carol Valenta, Director of Education for CMSI, and Beth Kirsh, Director of Educational Print and Outreach for WGBH, will be responsible for implementing the outreach plan. Advisors for the project include David H. Hubel, neurobiologist, Harvard Medical School; Vilayanur S. Ramachandran, neurophysiologist, University of California, San Diego; Richard Gregory, perception psychologist, University of Bristol; Sally Duensing, Science and Museum Liaison, Exploratorium; Elizabeth Stage, Co-Director for Science, New Standards Project, National Center on Education and the Economy; and Robert Coutts, high school physics teacher, Los Angeles, CA.
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TEAM MEMBERS:
Paula ApsellSusanne SimpsonAnn MuscatCarol ValentaBarbara Flagg