Blog

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August 21, 2014  |  Family & Kids, Learning and Engagement
Trance-scendence: MoMA Teens Explore Hypnotism and Performance Art

Even after years of creating weird and off-kilter art courses for teens, one of the darkest and strangest teen art courses we’ve ever offered might very well be last season’s Under the Spell of Mysterious Forces: Magic, Illusion, and Performance Based Art. Taking the young participants deep into a realm where magic, trance, and extrasensory perception mingle with performance art, the course attracted a range of curious open-minded teens, all wiling to take the plunge into the artistic unknown. Read more

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Looking Back at MoMA Studio: Breathe with Me…and Beyond

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

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Polke Pop-Up Activity Space
MoMA visitors participate in a Polke Pop-Up Activity

MoMA visitors participate in a Polke Pop-Up Activity

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

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July 2, 2014  |  Learning and Engagement, Tech
Five Steps to Making the Art & Activity MOOC
The video crew captures Lisa leading a teacher professional development session in MoMA's fourth-floor Painting and Sculpture Galleries. Photo: Stephanie Pau

The video crew captures Lisa leading a teacher professional development session in MoMA’s fourth-floor Painting and Sculpture Galleries. Photo: Stephanie Pau

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

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Playing Games at MoMA Studio: Won’t You Breathe with Me?
From left: Playing Polvo with Michel Groisman at MoMA Studio: Breathe with Me; Playing Sirva-Se in MoMA's Sculpture Garden with Michel Groisman. Photos by Sarah Kennedy

From left: Playing Polvo with Michel Groisman at MoMA Studio: Breathe with Me; Playing Sirva-Se in MoMA’s Sculpture Garden with Michel Groisman. Photos by Sarah Kennedy

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

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Would You Like to Come Breathe with Me at MoMA Studio?
MoMA Studio: Breathe with Me Opening event on Friday, May 16, 2014. Photo by Sarah Kennedy, MoMA staff member.

MoMA Studio: Breathe with Me Opening event on Friday, May 16, 2014. Photo: Sarah Kennedy

Last Friday, May 16, we celebrated the opening of MoMA Studio: Breathe with Me, an interactive space that has been organized in conjunction with the exhibition Lygia Clark: The Abandonment of Art, 1948–1988, on view in the sixth-floor galleries through August 24, 2014. Taking Clark’s art as a reference point, the Studio presents a series of drop-in programs, participatory experiences, and artist-led workshops that explore the intersections between art, therapeutic practice, and the ways in which we relate to objects and people through physical encounters.

Like all previous MoMA Studios, MoMA Studio: Breathe with Me is a free, interactive space open to visitors of all ages, and offers experiential learning experiences that complement looking and talking about works of art in the galleries, allowing for engagement with art in hands-on, creative ways. Visitors can experiment, learn, play, and create as they make connections between their lives, their own creativity, and the processes and materials of modern and contemporary art.

Visitors using Lygia Clark's sensorial object called Living Structures, made up of elastic bands connecting participants in a giant flexible web. Photo by Sarah Kennedy

Visitors using Lygia Clark’s sensorial object called Living Structures, made up of elastic bands connecting participants in a giant flexible web. Photo: Sarah Kennedy

The process of putting this particular MoMA Studio together has been a unique experience due to the nature of Lygia Clark’s work, which is often dynamic and sensorial in nature—a quality that is highlighted in the exhibition itself, which has a central component that is about engaging the public in participatory ways within the galleries. This aspect of the exhibition parallels the planning of our Studio programming and has allowed for a fruitful collaboration with the curatorial team and the exhibition facilitators.

In developing the focus and scope of MoMA Studio: Breathe with Me, and in the hopes of revealing the profound resonance Clark’s work has had with contemporary artists, we have collaborated with a talented group of artists from near and far, to present an exciting series of programs for this MoMA Studio. These artists include Ricardo Basbaum, Carlito Carvalhosa, Stephanie Diamond and Tamara Vanderwal, Michel Groisman, Jeanine Oleson, and Allison Smith.

Visitors trying Lygia Clark's proposition, Caminhando on the rug at MoMA Studio: Breathe with Me with Allison Smith's Joining Screens project as a backdrop. Photo by Sarah Kennedy

Visitors trying Lygia Clark’s proposition, Caminhando, on the rug at MoMA Studio: Breathe with Me with Allison Smith’s Joining Screens project as a backdrop. Photo: Sarah Kennedy

Perhaps more than previous Studios, this one is conceived as a space that comes alive most with the activation of the workshops and events by willing participants, in collaboration with artists. This week the workshops kicked off with Carlito Carvalhosa’s public action in the The Abby Aldrich Rockefeller Sculpture Garden and MoMA Studio on May 20 and 21, followed by Michel Groisman’s Polvo and Sirva-Se workshops, which begin tomorrow, May 22 and run through the Memorial Day weekend. We are following Clark’s philosophy, “the work is in the act,” and we invite you all to join us! Visit MoMA.org/MoMAstudio for details.

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“Is This a Social Experiment?” Performing John Cage
Serra Sabuncuoglu and Robert Barry participate in Performing John Cage, The Museum of Modern Art, February 18, 2014. Photo by Sarah Kennedy

Serra Sabuncuoglu and Robert Barry participate in Performing John Cage, The Museum of Modern Art, February 18, 2014. Photo by Sarah Kennedy

Twice daily, from February 7 to 20, MoMA staff and invited artists performed John Cage’s score 4’33″ in an area just outside the exhibition There Will Never Be Silence: Scoring John Cage’s 4’33″. Over the course of those two weeks, 28 renditions of 4’33″ were performed by 20 staff members and eight guest artists. Read more

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March 5, 2014  |  Learning and Engagement
Tours for Fours: Experimenting with New Formats

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

Photo: TK

Kids talking about how Pollock put paint onto canvas: “He made it crazy!” Shown: Jackson Pollock. Number 31, 1950. 1950. Oil and enamel paint on canvas, 8′ 10″ x 17′ 5 5/8″ (269.5 x 530.8 cm). Sidney and Harriet Janis Collection Fund (by exchange). © 2014 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. Photo: Jackie Armstrong

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.

While listening to Jazz music, Educator says: “Make your fingers jump when you get to a square.” Photo: TK

While listening to jazz music, our educator says: “Make your fingers jump when you get to a square.” Shown: Piet Mondrian. Broadway Boogie Woogie. 1942–43. Oil on canvas, 50 x 50″ (127 x 127 cm). Given anonymously. Photo: Jackie Armstrong

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

 Parent: “I thought someone who could talk to children would talk to her about art. Instead, someone talked to her about how people make art, allowed her to imagine and practice it, and sent us on our way. We went home and made our own Jackson Pollock. It was beyond awesome” Photo: TK

In a MoMA classroom one parent noted, “I thought someone who could talk to children would talk to her about art. Instead, someone talked to her about how people make art, allowed her to imagine and practice it, and sent us on our way. We went home and made our own Jackson Pollock. It was beyond awesome.” Photo: Jackie Armstrong

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!

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February 13, 2014  |  Learning and Engagement
Conversations across Cultures: Facilitating Art-Making Workshops with Educators from Korea

Workshop participants create artwork inspired by Warhol and Kim

Workshop participants create artwork inspired by Andy Warhol and Kim Whanki

As New Yorkers, we like to think we have a handle on public transit. The local, the express, the muttering person you try and steer clear of—we’re unfazed. But tackling the subway in Seoul, South Korea, was a different story. Read more

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January 27, 2014  |  Behind the Scenes, Learning and Engagement
User-Testing Sessions for MoMA Audio+: Learning by Listening and Watching

Following over a year of research and development by a cross-departmental team, MoMA Audio+ mobile guide debuted in July 2013, replacing the handheld audio guides that the Museum had been distributing for many years. MoMA Audio+ enables visitors not only to listen to audio commentaries and read interpretive texts about works of art, but also offers the ability to take and share photographs, locate works of art and facilities, and e-mail yourself a record of your visit using the My Path feature.

A visitor in the galleries using the MoMA Audio+ mobile guide. Photo: Martin Seck

A visitor in the galleries using the MoMA Audio+ mobile guide. Photo: Martin Seck

Testing and assessment has been key to the process of developing MoMA Audio+. Built using a method called agile development, in the months leading up to launch, the development team released and tested functional versions of the app as it was being built. Based on testing and feedback, we could iteratively implement improvements to the user interface and features to better enhance visitor experience. After launch, we conducted assessment from a variety of perspectives: visitors returning the mobile guide were interviewed about their experience, Antenna staff distributing the mobile guide were surveyed, and user-testing sessions were conducted.

MoMA Audio+ desk. Photo: Martin Seck

MoMA Audio+ mobile guide distribution desk. Photo: Martin Seck

How Does User Testing Work?

Nine individuals were recruited to participate in user testing. Participants represented a mix of ages and genders, as well as varying interests, work experiences, and technical abilities. User testing took place in December over the course of three mornings in the American Modern exhibition. Three participants were scheduled for each 60- to 90-minute session, and for every participant there was a lead facilitator and a cofaciliator. The lead facilitator guided the participant through the directed-testing instrument, prompted and asked for clarification as needed, and took notes. The cofaciliator also prompted as needed, asked questions, and took notes. For each session, there was also at least one additional staff person floating between groups and observing. Participants were asked to think out loud and voice any questions or concerns as much as much as possible during the testing.

Testing the MoMA Audio+ device with visitors in the galleries. Photo: Claire Huddleston

A user-testing participant with facilitators in the galleries. Photo: Claire Huddleston

So, what did we learn?

A lot! I’ve been working in museum evaluation for a few years and am constantly amazed by the amount and depth of information that even a small group of user-testing participants can provide. While some of the insights offered confirmed our own thoughts about the mobile guide, there were also plenty of things they pointed out that we did not realize were barriers to a smooth user experience. Along with critical feedback, it was also great to hear what people enjoyed about using MoMA Audio+.

Here are some of the overall findings from the user testing sessions:
What did users really like about MoMA Audio+?

• The amount and variety of content available for them to access
• The high quality images presented on the device
• The camera feature, My Path feature, and other functions that allowed them to personalize and share their experience at MoMA

What aspects of MoMA Audio+ did users find difficult or confusing?
• Locating the How To use MoMA Audio+ instructions
• Understanding and locating all the layers of content and features available
• Locating specific artworks using the map

We really appreciated all the critical feedback these user testing participants offered because it helps us find ways to improve on what we currently offer visitors. Of course, we also loved that 89% (N=9) felt that MoMA Audio+ is something that would enhance their experience in the galleries. A few comments from participants included:
• “I feel that MoMA Audio+ enhances what I came to see here. Thousands of things on view and this helps me to shape my visit.”
• “It added another dimension. Nothing replaces the act of looking, but knowing more about what I’m seeing enriches the experience. This achieves that goal. Devices are not too heavy, not burdensome, not ugly, nice MoMA graphic.”
• “Usually, I just want to be with the art and wander around but I really like the ability this device gives you to document what you see during your visit. Personalizes the experience”

A visitor in the galelries using the MoMA Audio+ device. Photo: Martin Seck

Using the MoMA Audio+ mobile guide to document a performance in the galleries. Photo: Martin Seck


Have you tried MoMA Audio+ on one of your visits to the Museum yet? If you did, we’d love to know what you thought!

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SLIDESHOW: See what the MoMA education team has been up to.