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
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.
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.
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.
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
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!
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.
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.
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.
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”
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!
I’ve racked up a lot of frequent flier miles working with The MoMA Alzheimer’s Project. My colleagues and I have had the great pleasure of traveling to places like Amsterdam, Tokyo, and Alexandria, Louisiana (population: 48,000) to facilitate training workshops on how to use art to engage individuals with Alzheimer’s disease. Read more
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