In 2014, MoMA’s education, curatorial, graphic design, exhibition design, and marketing departments collaborated to develop an interactive learning space adjacent to the exhibition The Paris of Toulouse-Lautrec: Prints and Posters. This is the third interactive space we’ve developed in relation to an exhibition, following the success of Performing John Cage and the Polke Pop-Up Activity Space. This café-like space offers activities and resources to connect participants with Lautrec’s life and artistic process using both unfacilitated and facilitated approaches. Read more
Posts tagged ‘Education’
This past May and June, MoMA’s Education and Research Building mezzanine was the site of MoMA Studio: Breathe with Me, an interactive space that explored the intersections between art, therapeutic practice, and the ways in which we relate to objects and people through physical encounters. Read more
If you happen to visit the exhibition Alibis: Sigmar Polke 1963–2010 on Tuesday afternoons you will notice something different: the sight of Museum visitors making art inspired by Sigmar Polke’s processes, in close proximity to his works of art. This shift toward more hands-on learning experiences is not something that happened overnight. Read more
On July 7, we launch Art & Activity: Interactive Strategies for Engaging with Art, a new Massive Open Online Course (MOOC). The course is part of an ongoing partnership with MOOC provider Coursera, to provide free professional development opportunities for K–12 teachers worldwide. Read more
We are entering the fourth week of MoMA Studio: Breathe with Me and want to share some of the highlights of the artist-led workshops that have activated the space so far. Each one revealed the ways in which Lygia Clark’s work continues to resonate with contemporary artists and their hopes to engage the public in experiences of art that are physical and social in nature. Read more
One thing you’ll never hear me say about working in MoMA’s Department of Education is “I’m bored.” In fact, what I love most about my role as a researcher and evaluator in this department is the constant interest on the part of my colleagues to experiment, innovate, and try new things. There’s always the desire to find ways to improve and/or to assess the current offerings. No one is ever comfortable with just leaving things as they are. It’s this collective dynamism that drives a lot of what the Department of Education does.
Recently, two of my colleagues in Family Programs expressed interest in trying out some iterations of their successful Tours for Fours program to see what tweaks would make that experience even more engaging for four-year-olds and their caregivers. Kristin Roeder, one of our amazing MoMA educators, was also keen to be a part of the experimentation and came up with variations on the more typical Tours for Fours tours. All of us were interested in looking at length of tour, number of works included, art works chosen, theme, activities, and variables in the group (size, ratio of children to adults, inclusion of younger siblings, etc.) to see if there was an ideal mix for this particular age group. In February we tried out three different variations of MoMA’s Tours for Fours.
Using Materials and Techniques as a theme and focusing on artists’ gestures, the three variations were:
1) Comparing and contrasting two works in the galleries
2) Focusing on one work in the galleries and doing a complementary activity in the classroom
3) Engaging with three works in the galleries and receiving a related activity at the end that families can do together at MoMA
Each of these was documented through observational notes and photographs. Prior to the start of the tour, I collected e-mail addresses from parents so that we could send a follow-up survey to find out what they thought about their experience. Following each tour, Family Program staff, the lead educator on the tour, and myself sat down to debrief (what worked, what didn’t) and to consider what might be worth trying going forward.
What we know so far based on observations, educator reflections, and feedback from parents is that:
• Tours should include at least three works during the 45 minutes. Adults expressed an interest in exposing their children to a variety of works and four-year-olds lost interest if too much time was spent on one work. For future iterations of this tour we may experiment by including four or five works during the 45 minutes.
• Including works that are familiar and unfamiliar to most adults is a good way to keep families engaged
• Themes that inspire curiosity and enable families to get into the head of the artist/be an artist are really effective (e.g. gesture)
• Hands-on activities are appreciated and present teaching opportunities that children will not only enjoy, but also remember
• For gallery-based programs like Tours for Fours, activities that take place in the galleries are best as getting to the classroom and getting an activity underway takes too much time away from the tour; families also expect to be in the galleries as classrooms do not offer the unique or immersive experience they are looking for
• Involvement of the adult caregivers is key to a successful tour; ideally, adults and children should be thinking and talking about art together
• Younger children (particularly siblings) who come along on the tour often distract the four-year-olds and/or cause disturbances that upset the tour, however we realize that families generally like to stick together so we need to find more effective ways of addressing these realities
• Providing a little activity for families to take away at the end of the tour is an appreciated gesture, and for families that do the activities it really adds to their time at MoMA
In March, we are planning to test out more variations of Tours for Fours. We hope that this loop of iterative testing will help us create a tour that best matches the needs and abilities of four-year-old visitors (and their adult caregivers).
Have you been to a MoMA Tours for Fours program? We’d love to hear from you!
As an educator at MoMA, one of the projects I have the most fun with is the Family Art Workshops. Workshops are programs where a museum educator leads a group through both a gallery experience and a hands-on art-making activity in a studio. I look forward to planning these, because usually museum educators do a lot of independent lesson planning, but for the workshops we get to work in teams. I’ve always loved collaborative brainstorming, so working together on these projects exercises that part of my brain. This fall, I put my head together with fellow Family Programs Educators Shannon Murphy, Keonna Hendrick, and Lynn Seeney to plan a workshop called Dreamscapes.
Our challenge was to make René Magritte’s work approachable for the workshop’s target age of four- to six-year-olds and their accompanying adults. Each educator teaching the workshop over the course of several weeks would do things slightly differently, but our general plan was to take families into the Magritte exhibition to discover how he painted everyday objects and made them strange or transformed in a variety of ways. After looking at and discussing a few paintings, we would head down to the studio to make Magritte-inspired Surrealist collages with cut shapes and patterned papers.
Our supplies were ordered, and we were ready to go, but there was one hiccup in our plans. By the time we hit late November/early December when our workshops were set to take place, the exhibition galleries were so crowded with Magritte devotees that we couldn’t reasonably expect groups of 20 kids and adults to maneuver through the space or sit on the floor to focus on paintings together.
Time for Plan B.
Having a Plan B ready to go quickly and smoothly is the name of the game when you’re a museum educator, and we had a seasoned team of flexible educators contributing to this workshop. Luckily, we’re working at MoMA, where there is no shortage of great art, so we were able to shift our focus to some of the Surrealist works in the fifth-floor Painting and Sculpture Galleries. Thanks to the work of Marcel Duchamp, Giorgio de Chirico, and Salvador Dalí, we were able to get families to notice some of the main ideas—such as altering the way objects function, or compositional choices that create surreal spaces—that would help them collaborate on their own collage-style dreamscapes.
In the end, they may not have seen the Magritte paintings we’d originally intended to show, but the families who participated got to learn about transforming objects and settings to change a typical landscape into a mysterious dreamscape. And their collages would do any of the Surrealists proud, if you ask me.
What happens when the Museum turns into a laboratory for artists?
This year MoMA’s Department of Education invited artists Allison Smith, Paul Ramirez Jonas, and the creative collective The Office for Creative Research to be part of the second year of Artists Experiment, an initiative to develop public engagement experiences through collaboration with contemporary artists. Exploring MoMA’s history, resources, and spaces, each of these artists approaches the Museum like a laboratory—a place for thinking, collaborating, and experimenting with the museum experience and our visitors.
San Francisco–based artist Allison Smith’s work investigates the cultural phenomenon of historical reenactment, or “living history,” using it as a means of addressing the relationship between American history, social activism, and craft.
At MoMA, Allison is researching the history of the Department of Education, specifically exploring the work and programs developed by MoMA’s first director of education, Victor D’Amico. Allison is considering how MoMA’s rich history can speak to our current education practices, mining strategies and ideas from the past to inspire new experiences at the Museum today.
Brooklyn-based artist Paul Ramirez Jonas is interested in articulating shared stories and histories, working with and transforming different forms of public art and public symbols.
Paul has been looking at the visitor experience at MoMA, exploring public spaces designed for interaction including the bookstore and the Museum’s information desks.
He asks the question, how can we build on the visitor experience at MoMA.
New York–based collective The Office for Creative Research (O-C-R) includes artists and data experts Jer Thorp, Ben Rubin, and Mark Hansen, a multidisciplinary research group exploring new modes of engagement with data, through unique practices that borrow from science, technology, and the arts.
O-C-R is looking at massive amounts of information from the Museum’s collection database. From image titles to notes on how to install a work, O-C-R is thinking about how this data can be explored and activated by Museum visitors to facilitate interaction, learning, and exchange.
What can you expect?
Throughout the winter and spring, Artists Experiment will present a range of programs and interactions developed with each of these artists. To kick things off, we invite you to join us for the January 29 launch event, Social Exchange: Artists’ Reception. This special event is a chance to meet the artists in person and get a little taste of what’s to come. The Office for Creative Research and Allison Smith are creating an interactive, performative work for the evening, and Chef Lynn Bound is preparing a special menu in collaboration with Paul Ramirez Jonas. We hope you’ll join us for this warm, winter celebration!
Look out for other upcoming Artists Experiment programs at MoMA.org/artistsexperiment.
This past fall, MoMA Courses Online launched Catalysts: Artists Creating with Video, Sound, and Time, a six-week survey of performance, video, and sound art created since 1960. As MoMA’s 12-month Digital Learning intern, I facilitated the production and monitored the progress of online courses, in addition to troubleshooting digital and technical issues. Read more
Since I began working at the Museum, every MoMA Studio has undergone a complete evaluation. Evaluation strategies include interviewing visitors, surveying participants, observing/tracking/timing visitors, using prompts to encourage responses on comment boards, facilitator reflections, and a few other participatory forms of data gathering. Read more
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