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1.
Danielle Rice and Philip Yenawine are veteran art museum educators who have wrestled for decades with the thorny issues involved in teaching about and learning from art objects in the museum setting. While there is general agreement within art museums today that the object should be the focus of educational practice, debate continues as to the most effective processes for facilitating learning. Gallery teaching is one of the most contested arenas, with much of the disagreement centering on the place of information in teaching beginning viewers. In art museums, the issue of what and how to teach is complicated by the fact that many people, including artists, museum professionals, psychologists and educators consider art primarily as something to be enjoyed, and they posit this enjoyment in direct opposition to learning about art. Partly because of this, the function of art museum education and gallery‐based instruction is still evolving.  相似文献   

2.
Abstract The Learning Science in Informal Environments report holds great potential for creating change among those who work in the field of science education. But to what extent can it inform other sectors of the informal education world? This article explores how the LSIE report might influence research and practice in art museums. By comparing the report to a recent study in art education, the authors point out areas of overlap and divergence relative to content and skills, identity, and communities of practice. We suggest several implications for how art museums and science museums might learn from one another. A call to action is made for further research and discussion about common learning goals and outcomes for the art museum experience.  相似文献   

3.
The language people use to talk about something can constrain as well as facilitate understanding. This essay explores the lessons learned through a study of how people talked about music to examine what it can mean for museums and museum experiences. The study itself had people talk about their interest, background, and ways of engaging with music, then listen to random cuts of preselected music to talk about what they were hearing. Several themes emerged from the study, suggesting there are clusters to ways in which people frame their experiences of music, which extend to how people might understand the museum experience and what museums might do to make that experience more relevant.  相似文献   

4.
There are an estimated 17,500 museums in the United States. If people think these institutions are pretty much the same once you get inside or that the differences between them are unimportant, it might be hard to persuade them that all 17,500 are needed. Exhibitions can have great transformational power; why don’t they exercise that power more often? Have museums not fully understood exhibitions as a medium? Have we not devoted enough attention to the full repertoire of visitor feelings? Have visitors been telling us this and we have failed to listen? For many people, museums play many roles in their lives; for most others few or none. How can this be? “Museum‐adept” visitors seem to prize museums as theaters in which their own emotional and spiritual journeys can be staged, but what about the non‐museum‐adept? Can the museum‐adept teach us how to realize our medium’s full potential?  相似文献   

5.
Studies exploring very young children visiting museums and art galleries are few. The majority of research about museum and gallery visitors explores family group interactions. This paper examines the findings of a study involving three‐ and four‐year‐old children visiting an art exhibition in a national museum on more than one occasion. The children's construction of knowledge about being a museum visitor and exhibitor indicates their ability to develop an appreciation of art and an understanding of the purposes of museums and art galleries.  相似文献   

6.
Multiple reasons shape how young people and families choose to participate in informal learning programs at museums and other settings. Youth interest is likely a factor, but so might be geographic proximity, institutional affiliation, household income, and race/ethnicity. We examined the relative impact of these factors through a comparative study of two art programs; one a small, neighborhood‐based organization focused on art and STEM, and the other a program in a well‐established art museum. The smaller program tended to draw youth from closer geographic proximity. Interest in art drove attendance at both programs, but institutional membership was also important. Demographic factors also were a factor, and race/ethnicity was more strongly associated with program placement than household income. We discuss the importance of better understanding of such factors as museums and other programs continue to grow as important sites for learning.  相似文献   

7.
A recent lecture series at the Harvard University Art Museums titled “Art Museums and the Public Trust” marked the eightieth anniversary of the founding of Harvard's famed Museum Course. A graduate seminar begun in 1921 by the Fogg Art Museum's associate director, Paul J. Sachs, the Museum Course became the primary training ground for art museum leadership in the first half of the twentieth century. The 2001 commemorative lecture series was intended to foster a healthy debate on the place of the art museum in Anglo‐American culture. Instead, the speakers, veteran directors of America's and England's most prestigious art museums, invariably returned to one concern: authority—theirs and that of the art museum itself in contemporary society. Authority was at the heart of the Museum Course decades earlier, tellingly explored in annual debates around two significant topics. The first debate involved the pros and cons of including period rooms in American museums. In the second, students argued about whether America's established art institutions should collect the work of living artists. Questions of how museums should respond to the interests of audiences and communities, their responsibility to contemporary artists, and the meaning of a public trust trouble America's museum leadership now as then. This article explores the common ground between the Museum Course debates of the 1930s and Harvard's recent commemorative “debates” by America's contemporary museum leaders and comments on its significance for today's museums.  相似文献   

8.
Abstract Restorative environments possess a combination of attributes that facilitate recovery from mental fatigue. Most previous research in this regard has focused on natural environments, but this paper explores the extent to which museum environments also provide access to restorative experiences. Visitors (307 tourists and 274 local residents) to a history museum, an art museum, an aquarium, and a botanic garden completed a questionnaire regarding the restorative qualities and benefits of the environment they visited. The findings indicate that for some people, museums are at least as restorative as natural environments. The paper contributes to the development of a theoretical understanding of museums as restorative environments and provides insights into the factors that facilitate and enhance restorative experiences. Such experiences have the potential to contribute to visitors’ well‐being and satisfaction.  相似文献   

9.
Museums, art galleries, botanical gardens, national parks, science centers, zoos, aquaria and historic sites are important public learning institutions. The free‐choice learning offered in these settings is closely linked to visitors' intrinsic motivation, making it important to understand the motivational factors that impact on visitors' experiences. This paper presents data from a questionnaire administered to visitors at three sites: a museum, an art gallery, and an aquarium. Similarities and differences among the sites are reported in relation to visitors' expectations, perceptions of learning opportunities, engagement in motivated learning behaviors, and perceptions of the learning experience. The importance of learning to museum visitors and the unique opportunities and challenges of the museum in relation to other educational leisure settings are discussed. The authors argue that the study of motivational factors might contribute to the development of a common theoretical foundation for interpretation in museums and other informal learning settings.  相似文献   

10.
儿童博物馆在过去二十年间由于种种原因,并没有在中国发展起来。一些相关的基本问题:“什么是儿童博物馆？儿童博物馆展示什么？为什么需要儿童博物馆？”在中国并不为大众熟悉,也没有受到太多博物馆专业领域人士的关注。本文将从影响儿童博物馆的理论及研究,儿童博物馆与其它场馆的区别,儿童博物馆的教育内容等几个方面来介绍儿童博物馆的核心教育理念。以期通过本文能够把儿童博物馆的精髓呈现出来,让更多的人了解并关注儿童博物馆,为中国儿童教育方式的发展提供一些参考。  相似文献   

11.
During the past two decades, relationships between artists and museums have changed in subtle, but significant, ways. Artists have become more fully integrated into the day-to-day workings of the art museum, whether as employees, guest curators, or even as members of decision-making boards. A new awareness of museum ethics in the 1980s has led to questioning of some common practices, and issues such as censorship have come to the fore. What has emerged is the growing realization on the part of both museums and artists that their fates are inextricably linked.  相似文献   

12.
In the 1980s, a wave of construction and renovation swept through the French museum world. It was driven by the need to renovate badly deteriorating museums and a growing awareness of the importance and potential of museums for tourism, economic dynamism, and local prestige. Until the early 1990s, a new museum opened every month, covering an impressive scale of subjects from art and archaeology to salt and combs. The French museum has witnessed many relatively sudden changes, some of them bringing French practice closer to American methods. But change is selective, and the French museum remains typically French. Recent developments are here evaluated in the dual context of the history of French museums and the ways in which they differ from the American style.  相似文献   

13.
Abstract Reviewing the published legacy of museum scholar Stephen E. Weil, this paper analyzes the development of Weil's thought and appraises his contributions to museum discourse. It traces two shifts in Weil's published writings: first, the broadening of his interests from the legal field and the art world to the situation and purposes of museums generally; second, the liberalization of Weil's museological politics, which gradually altered his early view of the (art) museum as a private, sacrosanct realm and led to his later calls for museums to act as community servants. The paper also examines Weil's rhetorical strategies, with particular attention to the hypotheticals and analogies for which he was well known, and offers a provisional evaluation of the extent of his influence on museum debate and practice.  相似文献   

14.
This article reports on a study of young children and the nature of their learning through museum experiences. Environments such as museums are physical and social spaces where visitors encounter objects and ideas which they interpret through their own experiences, customs, beliefs, and values. The study was conducted in four different museum environments: a natural and social history museum, an art gallery, a science center, and a hybrid art/social history museum. The subjects were four‐ to seven‐year old children. At the conclusion of a ten‐week, multi‐visit museum program, interviews were conducted with children to probe the saliency of their experiences and the ways in which they came to understand the museums they visited. Emergent from this study, we address several findings that indicate that museum‐based exhibits and programmatic experiences embedded in the common and familiar socio‐cultural context of the child's world, such as play and story, provide greater impact and meaning than do museum exhibits and experiences that are decontexualized in nature.  相似文献   

15.
The concept of meaning-making is generating excitement within the museum community, with good reason. Providing an approach to understanding visitor experiences, the paradigm illuminates the visitor's active role in creating meaning of a museum experience through the context he/she brings, influenced by the factors of self-identity, companions, and leisure motivations. As a result, visitors find personal significance within museums in a range of patterned ways that reflect basic human needs, such as the need for individualism and the need for community. The dynamics of visitor meaning-making indicate the importance of fashioning a better “fit” between people and museums in two critical areas: (1) between human meaning-making and museum methods and (2) between human needs and the purpose of museums in society. Each of these areas illuminates a promising direction for a new age of museums in which we actively support, facilitate, and enhance the many kinds of meaning possible in museums and explicitly incorporate human needs into exhibit goals and institutional missions. Examples of successful strategies are discussed.  相似文献   

16.
As part of an exploratory research study, museum professionals were asked to share their stories about pivotal learning experiences in museums. Several offered personal narratives of how they first became interested in museums and started down the path toward careers in museum work, or had their imaginations opened to the possibility of broader life horizons. This group of stories seemed to be grounded in particularly vivid memories and frequently elicited strong emotions in the telling. The narratives are evidence of the impact of early museum experiences on people who later found their way into museum careers, and suggest avenues for further study of the roots of museum careers as well as other ways museums profoundly affect people's lives. The stories can also reveal to the teller, as well as to researchers and others, what stands out in their memories and the importance they assign to those memories. By attending to the thematic and emotional content of these narratives, both narrator and colleagues can find clues about where their beliefs and values really lie and, therefore, where their and the profession's time and resources might be most productively invested.  相似文献   

17.
In most existing art museum Web pages, the values of the museum dominate the values of the Web. Therefore, museum Web pages often electronically duplicate familiar museum products – floor plans, collection catalogues, event calendars – rather than transforming the idea of the museum by adapting the values of the Web.This paper will seek to show how art museums and technologists can come to understand each other and use their differences productively by:1. Orienting museum Web sites towards projects that can only be done on the Web and not on paper.2. Using the Web to overcome the many limitations to understanding imposed by the physical art museum.3. Using the interactive potentials of the Web to change the one-way flow of information from art museum to visitor to a two-way flow which also moves from visitor to museum.4. Infusing the orientation towards constant change into the art museum so that the Web helps the art museum to reinvent itself.  相似文献   

18.
A survey of museums in the United States sought to identify evidence of broad impact on the organisational culture and practices of museums in their relatioships with indiginous peoples as a result of the passage of the Native American Graves Protection and Repatriation Act 1990 (NAGPRA). NAGPRA establishes a process for the repatriation of human remains and other specified items held in museum collections to Native Americans who can prove they are lineal descendants or members of tribes which are culturally affiliated with identified items covered by the legislation. Effective repatriation programs are characterised by: * a genuine belief in the primary rights of indigenous people in the management of their cultural material presently held in museum collections; * a commitment to greater collaboration between the museum and indigenous people in the management of scientific research and public programs pertaining to items of indigenous cultural heritage; * practices which are indicative of an organisational culture which acts in ways which go beyond the minimum requirements of the legislation. Our research shows that museums are engaging in consultation with indigenous people in the management of collections of indigenous cultural heritage, and that this engagement is influencing conservation strategies. Museums espouse goals which promote external consultation, the involvement of indigenous people in their activities, respect for the cultural goals of indigenous people and a commitment to increasing public awareness of indigenous cultural heritage and social issues. However, only in the areas where NAGPRA has mandated it should happen—collections of human remains and secret/sacred material—is there evidence of communication and consultation, commitment of resources and sharing of authority with indigenous people consistent with the outcomes intended under NAGPRA.  相似文献   

19.
This paper describes a conceptual framework for the way museum managers might categorize different kinds of program opportunities, both existing and potential. This systematic approach to program planning may be useful to managers in museums seeking to expand their programs' scope and scale. The basis for this concept is borrowed from the outdoor recreation discipline, which sought, in the 1970s, to find a common language to describe supply and demand for recreation opportunities and to understand recreation opportunities in a geographic context of available natural resources. In this paper, the concept is adapted for museums and museum going as a leisure activity. The article first explores the linkages between museum supply and demand as they relate to a larger leisure marketplace. The Recreation Opportunity Spectrum (ROS) is then described as it is used for outdoor recreation decision making. Following this practice, museum demand opportunities are defined and elaborated by example, and a “Visitor Opportunity System”—modeled after ROS—is presented. Specific examples are provided for applying this system approach to a variety of museum practices and planning scenarios.  相似文献   

20.
The author suggests that especially in museums, particularly art museums, creating truly visitor‐friendly environments eludes most institutions. The special, sometimes magical, experience of direct contact with original works of art can be encouraged by management decisions that make the museum a more accessible place. This ranges from technological fixes to simply insisting on friendliness from staff. Examples from the author's experience are provided.  相似文献   

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