‘Who Thinks this Teaspoon Is Art?’ A Discourse Analysis of Elementary School Students' Negotiation of Meaning During Art Museum Visits

This intrinsic case study examines art museum learning of elementary school students during a week-long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning-making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video-recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning-making during art museum visits, illustrating their strategies to construct knowledge and bridge connections.     

高校美术馆的定位与管理

高校美术馆是美术馆(博物馆)领域的新兴试验田,我国高校美术馆在上世纪90年代开始大兴土木,较国外的高校美术馆来说,它仍然十分稚嫩,但高校美术馆尤其是艺术类院校的美术馆具有很大的研究价值和发展空间。作者认为对高校美术馆的管理应该借鉴企业管理的新模式新思路,不应对美术馆的资金收入存有芥蒂,因为美术馆只有在产生自我供血机制后,才能更加有效地发挥其公共性能和社会性能。     

高校美术馆的定位与管理

高校美术馆是美术馆（博物馆）领域的新兴试验田,我国高校美术馆在上世纪90年代开始大兴土木,较国外的高校美术馆来说,它仍然十分稚嫩,但高校美术馆尤其是艺术类院校的美术馆具有很大的研究价值和发展空间。作者认为对高校美术馆的管理应该借鉴企业管理的新模式新思路,不应对美术馆的资金收入存有芥蒂,因为美术馆只有在产生自我供血机制后,才能更加有效地发挥其公共性能和社会性能。     

Is It Always Worth the Trip? The contribution of museum and gallery educational programmes to classroom art education

Drawing on observations of classroom art practice and visits to one museum and two galleries and on interviews with teachers and museum and gallery educators, this article examines the interactive relationship between school art education and museum and gallery visits. It studies: the ways primary teachers use such visits for art teaching purposes; and the reasons for the existing limitations in incorporating museum or gallery visits into school art education despite the wide acknowledgement of their educational value. The findings suggest the presence of two models of educational programmes which appear to influence differently the ‘three‐part unit’ of preliminary work, visit to the institution and follow‐up activities in the classroom.     

荆门行业博物馆资源调查和建设构想

行业博物馆是上世纪八十年代开始逐步兴起的一种新的类型的专题博物馆,近两三年发展如火如荼.荆门目前建有两个行业类博物馆,一个是油菜博物馆,一个是蜜蜂博物馆,但经调查,荆门行业博物馆资源还有农耕文化资源、漳河水利资源、古民居资源、石碑石刻艺术资源等,因此,荆门应从现有特色资源出发,努力规划建设中国农谷农耕文化博物馆、漳河水利博物馆、荆门古民居博物馆、荆门石碑石刻艺术博物馆等,以此引导和发展荆门地区的行业博物馆建设.     

Encounters with the Unexpected: From Holbein to Hirst (and Back Again)

Learning through art in the museum is a Masters’ level module established in 2006 through collaboration between the School of Education at Roehampton University, London and Interpretation and Education staff at Tate Britain and Tate Modern. On completion of the module, participants were asked to reflect on how the experience had altered their perspectives on the collection and their strategies for teaching and learning in art and design. The aim of this article is to explore some of the themes that emerged from these interviews and from other dialogue between tutors and students on the module, themes that are then discussed within the wider context of museum and gallery education. The article concludes by reflecting on broader notions of knowledge and understanding in the context of museum and gallery education. It is argued that the juxtapositions of historical, modern and contemporary art that have been a distinctive feature of Tate's curatorial strategy since 2000 have shed fresh light on older works in the collection and provide opportunities for art educators to reappraise the emphasis currently placed upon the interpretation of modern and contemporary work. It is suggested that developing knowledge and understanding of art is partly about embracing notions of ambiguity and mystery: that engaging with multiple and shifting interpretations of artworks should play a more central role in art education and that part of the process of engaging with art is the experience of not knowing and not understanding.     

Provoking Points of Convergence: Museum and University Collaborating and Co‐evolving

This article outlines art education courses undertaken in museum and gallery contexts as a component of the Certificate Programme in Visual and Material Culture within the University of British Columbia's Department of Curriculum Studies. With the creation of this programme and through the forging of relationships with area museums, unique ways have evolved for graduate students from diverse areas of education and art teacher education candidates to interact with works of art, museum professionals, artists, and the museum space itself. The purpose of these courses is to use museum and gallery settings as sites to test ideas, critique educational programmes, and advance new approaches for teachers to use museums in more creative and integrated ways in their teaching while expanding theoretical knowledge and interpretive repertoires. Through participating in this collaborative venture we have learned that when you invite teachers into museums, make efforts to increase their comfort within these spaces, while recognising what interpretive insights they offer as active participants in museum discourses, points of convergence between teachers, universities, and museums are formed.     

"Tell Us What You Know:" Exploring the Nature of Knowledge About Aesthetic Experience

The role of art museum educators is to facilitate the viewer's aesthetic experience and to support the integration of new concepts into the viewer's pre-existing cognitive structure. Ideally, art museum educators teach viewers how to participate actively in the aesthetic experience. This seemingly straightforward task is difficult to accomplish. The modernist structures of the art world tend to cast the viewer in a passive role. Research into aesthetic experience conducted within Modernist paradigms tends to perpetuate the passive interaction of viewer and artwork. In this paper, I examine the work of researchers and artists who stretch or redefine the modern paradigm of art and identify ways in which active viewer participation can be supported. I propose that researchers of aesthetic experience can no longer approach viewers as subjects for their studies. I demonstrate that viewers are involved in research when their voices are heard in the discourse and they have the opportunity to see themselves reflected in the work of art. Within this new paradigm, viewers and researchers become co-creators of knowledge about aesthetic experience. Knowledge generated in this way enables art museum educators to support active participation in aesthetic experience.     

"馆校合作"——利用博物馆资源加强高校艺术鉴赏课程教育

博物馆具有丰富的艺术资源，在高校完成艺术鉴赏教育中具有举足轻重的地位。利用博物馆资源，加强高校艺术鉴赏教育，对加强高校艺术鉴赏课程教育改革具有重要意义。     

论陈列艺术设计理念的更新

随着时代的发展和科技的进步,打破旧的传统的思维模式,赋予博物馆陈列以新的设计理念,已成为广大文博工作者转变思想观念的当务之急。而只有提高陈列艺术设计人员的综合素质,才能够不断把陈列这门综合艺术推向崭新的层面,进而提升和引导广大观众的文化消费和审美追求。     

信息社会文化艺术管理的创新趋势

艺术管理是一门新兴的交叉学科，随着科技的发展、文化市场的繁荣和对外开放的深入以及管理手段的多样化、信息化、柔性化，画院、文化馆、美术馆、艺术研究所、博物馆、制片厂等艺术品创作部门的管理也面临着新的挑战与机遇。面对加入WTO后中国艺术行业的新情况，在信息时代我国艺术管理会有那些新趋势，本文进行了一定的探索：文章从宏观角度分析了加入世贸后，国外艺术经营公司对我国艺术管理的影响，分析提出了知识经济、信息社会我国艺术管理的六大创新趋势，对我国艺术行业管理的发展具有一定的参考价值。     

韩国国立博物馆

韩国国立博物馆是韩国历史和艺术博物馆的旗舰博物馆,也是一个展示韩国的文化机构。它最初建于1945年。2005年10月,博物馆在首尔龙山家庭公园的新楼对外开放。该博物馆拥有15万多件馆藏,可以同时展出1．1万件藏品。据称,在楼面面积上,该博物馆是亚洲最大、世界第六大博物馆,总面积达28542．3平方米。     

高校校史馆实物陈列艺术及教育意义

作为展现高校发展史与大学精神的重要窗口,校史馆逐渐成为校园文化建设的重要组成部分,而校史馆的建设与发展的创新之处,也体现在校史馆的实物陈列艺术上。以此为切入点,简要阐述和分析校史馆实物陈列的艺术原则,并揭示其蕴含的特殊意义。     

Art Animates: Ideas Inspired by a University-Sponsored Summer Arts Academy for Middle and High School Students

ABSTRACT

Art can provide a vehicle for animating learning. Teachers bring ideas to life through curriculum, while artists realize their ideas through images, often translating between forms, media and spaces. This paper describes the context, content and format of a residential Summer Arts Academy for gifted and talented middle and high school students, held on a university campus. In 2013, the theme of the visual art program at the Summer Arts Academy was animation, which linked to the summer exhibition at the local art museum. Collaborations among university faculty, public school teachers, community artists, and art museum and gallery staff have potential to animate learning for students, while stimulating additional forms of public engagement.     

Mapping Invitations to Participate: An Investigation in Museum Interpretation

This a/r/tographic inquiry delves into questions about participatory art museum practice, specifically seeking to understand the nature of invitations to participate. Utilising drawings, writing and mapping of embodied participation, questions of how individuals are invited to participate in various locations and how these invitations inform the work of art museums that engage in participatory practice are considered. Conditions for participation, including familiarity, personalisation, enthusiasm, playfulness, narrative, uniqueness, sociability and listening, as well as anti‐invitations that contradict moves toward participation, are discussed in relation to examples from the study and scholarly writing. The purpose of this article is twofold: first, to share research about participatory practice in various locations and its implications for art museums, and second, to explore the potential of arts‐based research methodologies, particularly a/r/tography, for art museum education research.     

Imagining and engaging difference in the art museum

This article focuses on power, difference and knowledge, areas critical to adult education. It conveys insights into how educators and curators in an art museum imagined and engaged with difference, and particularly the black subject, when working within a collaborative project that included the acquisition of art objects (fine art photography). The article utilises material drawn from an ethnographic research project that included a case study based on an 18-month participant-observation of an evolving partnership between the Victoria and Albert Museum (V&A) and the Black Cultural Archives (BCA), in London, UK. The case offers a snapshot of the tensions involved in educators and curators seeking to imagine and engage difference in the art museum. The case provides evidence of the lived experience of collaborative work and the challenges involved in negotiating issues of difference in multiple contexts: across organisational cultures, when imagining audiences, and in the representation of the black subject within photographs.     

Bridge or Barrier? Writing in Secondary Art & Design Education in the UK

What role does writing play in secondary art & design education? In the context of current debates on access and participation in the visual arts, the nature of art discourse and the value of creative subjects within the curriculum, what impact do the existing requirements have on students, teachers and the broader arena of the visual arts? This article presents the findings‐to‐date of an ongoing pilot study which set out to explore these questions. Drawing on interviews with teachers and exam board representatives, and a review of student texts and exam board documents and resources, the study found that even though writing is only a minor part of what is an essentially practice‐based subject, it was a source of significant concern and confusion. A marked disconnect was revealed between intent and practice, which in turn highlighted a series of underlying values and beliefs that seemed to further drive this disconnect. The study calls for a wider discussion of the way writing is framed, used, supported and assessed in the art & design classroom, and the need to ensure that any pedagogy and resources developed align with the values as well as curriculum of art & design. It also previews how strategies created in the context of developing more inclusive and flexible writing skills among curators and other art museum professionals may offer a useful model. The study is part of a larger investigation into the discourse/s of the visual arts, with a focus on issues of access and participation.     

Getty Museum Family Room – Educational Issues on Scaffolding and Transfer of Learning

In order better to support children’s learning experiences, art museums have begun to establish interactive art exhibitions designed for family visitors. However, as more of these interactive exhibitions are established, some museum professionals are raising concerns about whether these exhibitions actually facilitate young visitors’ learning or impede them from engaging further with the art objects exhibited. Using the Family Room (FR) of the J. Paul Getty Museum in Los Angles as a case study, this research examines the educational principles considered and the challenges encountered when conceptualising and implementing its interactive exhibition. My research shows that the FR project team emphasised three educational principles to be integrated into the exhibition design: (1) interactive learning, (2) family as a learning unit, and (3) enhance the learning of basic artistic elements. The FR’s overarching educational objective is to encourage transfer of learning between the FR to the Getty traditional art galleries. My research concludes with three suggestions to be considered in future practices of art museum education (1) the limits and potentials of interactives, (2) the interactive exhibition design and scaffolding, and (3) transfer of learning between galleries.     

Lifelong Learning for People Aged 64+ Within the Contemporary Art Gallery Context

This paper reports the initial findings from Contemporary Visual Art and Identity Construction—Wellbeing Amongst Older People: a two-year research project that aims to understand how the lives of older people can be improved by examining their use of contemporary visual art in the art gallery and museum. It will focus on data relating to lifelong learning for postretirement people. The paper investigates the impact of engaging with contemporary art on a sample of 43 participants aged 64+.