Yuri Suzuki. Colour Chaser. 2010–13. Plastic and electronics components. The Museum of Modern Art, New York. Gift of the designer. Photograph by Hitomi Kai Yoda
What would music made from a conversation between a robot and a drawing sound like? How can you improve someone’s day using only creativity and an old toothbrush? Can discarded electronics be repurposed to make a responsive video project about endangered species?
The Rio Museum of Art. Photo: Athina Balopoulou
As urban sociologist Robert Park wrote, the city is “man’s most consistent and on the whole, his most successful attempt to remake the world he lives in more after his heart’s desire.” However, how aware are we of our right to reinvent the city, and not just access what is presented to us? How much more creative and human-centered could we be when rethinking the processes of urbanization?
Shown: Meret Oppenheim. Object. 1936. Fur-covered cup, saucer, and spoon, cup 4 3/8″ (10.9 cm) in diameter; saucer 9 3/8″ (23.7 cm) in diameter; spoon 8″ (20.2 cm) long, overall height 2 7/8″ (7.3 cm). The Museum of Modern Art, New York. Purchase. © 2014 Artists Rights Society (ARS), New York/Pro Litteris, Zurich. Hope Ginsburg: Objects in Transition class at MoMA, March 15, 2014. © 2014 The Museum of Modern Art, New York. Photo: Erica Gannett
Reading Stephanie Rosenbloom’s article, “The Art of Slowing Down in a Museum,” recently published in The New York Times, has reminded me of the importance of “deep looking” in the museum and ways to enhance visitor experience at MoMA. As a museum educator, I spend a lot of time thinking about the visitor and how to help improve their interactions with art. Like Italy’s slow food movement, it’s about improving quality and savoring the moment.
Workshop participants create artwork inspired by Andy Warhol and Kim Whanki
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.
Put a group of student artists in a room with five hours to complete three days’ worth of work—and then tell them they have to exhibit their work to the public at MoMA the following day.
You may ask yourself: “What did these pirates intend to plunder from MoMA and what does it have to do with the Museum’s Education Department?”
A School Visits film shoot in action
As most museum educators know, capturing what we do is difficult. The insightful comments and “a-ha” moments visitors have during our programs often go unrecorded.
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