What does an equitable art education look like? Pt. 1

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Titus Kaphar, Shifting the Gaze, 2017, oil on canvas, 83 × 1031/4 in. (210.8 × 262.3 cm). Brooklyn Museum, William K. Jacobs Jr., Fund, 2017.34. © Titus Kaphar. (Photo: Courtesy of Jack Shainman Gallery)

Curricula is always in flux, yet sometimes we get too comfortable or complacent with what we know, or perceive to be worth knowing. The common core, core knowledge, and other curricula seek to find ‘universal’ set of standards, goals and information that would enable a collective society to have a similar understanding. These types of systems form a canonical framework for education, much like the way art history has been presented and understood through the canon; a set of self-evident principles and rules that govern a conventional model for teaching what is believed to be worth seeing and knowing. The issue is that those who design the aforementioned curricula or who write art history as a linear and prescribed narrative, are often at odds with presenting an equal and equitable reality of the human experience.

This post will critique the canonical framework for the study of art history, and how contemporary curricula, such as the new AP Art History course and pluralistic cross-cultural exhibitions in museums have shifted the canon away from traditional Eurocentric and binary modes of analyzing, researching and discussing art.

An essential question, that is worth contemplating is how the artworks we are most familiar with and deem most valuable get that way? How did the halls and galleries of museums get established and the narrative of art history become the basis for idealizations of beauty and symbols of wealth, power and knowledge?

An enduring understanding, is that art history is a discipline based on both an account of the stylistic and conceptual stages of art, as well as the bias or personal taste of the people who record and present it. There are factors that contribute to this scenario including: patronage, colonialism and academic or institutional status. For example, art historians have had a role in propagating the masterpieces of classic civilizations like Greece and Rome, as works of art symbolize beauty, balance and an ideal democratic ideology, while describing work outside of this classical tradition as ‘primitive’ or ‘tribal’ (see: Breukal, 2011). They have elevated the works of certain artists, styles and cultures who adhere to their standards of what makes for good form, content and context. They also dictate what is art and what is not, such as when, in the 18th century, Johann Joachim Winkelmann defined art by its aesthetic nature –to categorize the form, content, and context of Ancient Greco-Roman art– or when centuries later, Arthur C. Danto (using Hegel’s thesis “end of art” as an influence) argued that art isn’t as much about aesthetics as it is about its concept and intent. The media that was used, the style of the art, or who the artist is that made the work is not as important as the physically embodied meaning. In this day and age, artworks don’t have to fit into prior art historical categories to be considered a part of the artistic narrative. In fact, Danto argues that art hasn’t had a linear progression since the end of the Modernist era (c.1960s-70s).

Because Danto’s argument shatters the preexisting model of how art is defined, it re-posits the age old question of ‘what is art?’ and who gets to define art.  To answer that philosophical question, Danto formed the foundation for an institutional theory of art in his seminal text ‘The Artworld.’ In Danto’s definition of the ‘artworld,’ something is art if those who have erudite and/or content specific knowledge about art deem it to be art. The ‘artworld’ is more than a philosophical space, it shapes the very fabric of our culture and how we value objects and essentially each other.

It is evident that the art historian, critic and patron have nearly as much influence on our perception of art as the artist or artwork itself. Flip through any survey textbook and take note of how many of the same images of artworks you see. How many of these works are by artists who are white? How many are male? How many come from European or colonial American backgrounds? The same goes for museum collections. Both these textbooks and museum collections have been shaped by generations of canonical reinforcement. While art history and the institutional art field is concerned with presenting narratives that give context to people, places and events throughout civilization; specific people, places and events become marginalized via their methodology.

Art historian Robert S. Nelson (1997) warns, “As a discipline, art history acquired and has been accorded the ability to reject people and objects, and to teach and thus transmit values to others…If these structures are seldom noticed, much less studied, they are always present. They are revived and replicated whenever a student attends an introductory class, reads a survey book, or follows a prescribed curriculum….” Fortunately, some people within the artworld are noticing this, and finding engaging ways to address this problem.

Taking an art history survey course in college and realizing that the course content had been whitewashed in favor of Eurocentric ideals, led Titus Kaphar to become one of today’s foremost contemporary artists.  A combination of noticing that art made by artists of African descent was only a short segment within a larger textbook, and the reaction of indifference from his professor when he asked why the class had skipped over it, prompted Kaphar to look closely at the ways that black figures have been treated within historical works of art.

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Frans Hals, Family Group in a Landscape, 1645-1648, oil on canvas, 79 1/2 x 112 in. Collection of Museo Nacional Thyseen-Bornemisza, Madrid.

His painting Shifting the Gaze, is a repainting of Frans Hals’ Family Group in a Landscape (c.1648), a 17th century portrait of a wealthy Dutch family standing in front of a lush forest near the shore. While the family is portrayed distinctively so that we know they are of a particularly noble status, Hals mysteriously included a black boy in dark clothing, sandwiched between the mother and daughter. His positioning seemingly several inches behind the family, gives the perspective of his being nearly invisible. If not for his white collar he’d hardly be seen at all. His brown skin and tunic blend into the dark green and brown tones of the trees in the background. He actually becomes more of a background formal element than a contextual figure within the painting. In the object description by the head curator of Old Master painting from the museum where the work is held, the dog next to the daughter –ironically rendered nearly as invisible as the boy– is mentioned and analyzed, while there is no acknowledgment of the boy’s presence whatsoever.

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Description of Frans Hals’ Family Group in a Landscape by curator Dr. Mar Borobia from the website of the Nacional Thyssen-Bornemisza, Madrid.

The perplexing inclusion of this figure and the absence of any proper identification or biographical information, is consistent with the way Kaphar noticed black individuals being portrayed within traditional European and American paintings. In order to shift our gaze to this unequal and inequitable issue, Kaphar took a large brush, dipped it in white paint and essentially covered up the Dutch family so that our attention is solely drawn to the black boy, thereby amending the form, function and context of the original Dutch portrait. Eventually the translucent quality of the paint he used to mask the Europeans will lightly fade over time (but still masked), creating a portrait where everyone is represented more equitably.

The new AP Art History curriculum and art history courses on the college level can do a great service to amending past art historical bias and omission. Through focusing more on art made throughout the world and presenting it in a manner that supports active learning, the new AP Art History course is designed to give students agency to think critically and outside of the box. By narrowing the content down to 250 required works, teachers can supplement these works with other examples that broaden students’ skills to closely observe works of art, make formal, contextual and sociocultural connections between works of art –with a heightened awareness for connecting works spanning time and place– and critically question and examine problematic narratives (or lack of specific narratives) previously attributed to works of art, styles and geographical locations. These are all important habits of mind that build students’ skills to develop empathy for the world around them, find patterns within the human condition and poignantly address ambiguity about questionable historical analysis and bias.

By using works both within and outside the required 250, teachers can prompt students to research specific works of art that have complex sociocultural context and critique degrees of interpretations from reputable sources. The goal is not to feed them didactic knowledge about each work, but enable them to formulate their own original thesis on why art is made, how art changes meaning over time (essential questions within the curriculum) and how historians might address bias within traditional meanings and interpretations.

For example, each of the painting sets below feature a work from the 250 paired with a contemporary example of a work that offers an amendment to tradition. Students can take close look at each of these works, compare and contrast the content and context and make inferences about what each artist on the right of each image set is expressing in rebuttal to the artists on the left.

Enduring Understanding: The male gaze, portrayal of the ‘other’, ideals of beauty, power, and seduction are ripe motifs throughout the Western art historical canon.

Essential Question(s): How has the form, function, content and context changed from the painting on the left to the painting on the right? How has the traditional portrayal of these 19th century paintings been amended by 21st century contemporary artists? What issues are being addressed in the contemporary works of art?

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Dr. Robert Glass writes: “Art historians ponder and debate how to reconcile the discipline’s European intellectual origins and its problematic colonialist legacy with contemporary multiculturalism and how to write art history in a global era.”

The study of art history in primary, secondary and higher education, should give students agency to make significant and critical inferences by making art meaningful to their lives. This can be done through active learning and also by making the content more relatable and equitable to a wider and more diverse student body. There is still a major equity and equality problem both within academic art and institutional art environments. There is no easy solution that will rectify present and past injustice. However, if the study of art becomes more pluralistic and relevant to students’ lived experiences, perhaps schools will see an increase in the diversity among students who are studying art history. Perhaps these students will go on to shatter the canon once and for all…

 


References, Notes, Suggested Reading:

Breukel, Claire. “WTF…Is Primitive Art vs Tribal Art.” Hyperallergic, 14 Sept. 2011. https://hyperallergic.com/35460/primitive-art-vs-tribal-art/

Danto, Arthur C. “The Artworld” (1964) Journal of Philosophy LXI, 571-584.

Glass, Dr. Robert. “What is art history and where is it going?” Khan Academy. https://www.khanacademy.org/humanities/approaches-to-art-history/an-introduction-to-art-history/a/what-is-art-history

Nelson, Robert S. “The Map of Art History.” The Art Bulletin, vol. 79, no. 1, 1997, pp. 28–40. JSTOR, www.jstor.org/stable/3046228.
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The Art of the Syllabus

A syllabus is an essential guide that communicates the what, why, when, and how for learning within an academic course. But can a syllabus be both a course outline as well as a work of art? The possibilities are certainly ripe for the picking. A good syllabus is one that is ‘contagious’, according to novelist, poet and educator Jesse Ball.

Ball expands this philosophy by saying:

“It is a very good thing if a syllabus is contagious. That is—if one of your students shows the syllabus to someone else, and if then that person is possessed by a sudden desire to take the class, or even to begin conducting research along parallel lines.”

To be possessed; drawn in by sudden desire; have an urge to share an experience with someone else and conduct further research, is parallel to the way a good work of art attracts and inspires us. We see a painting on the wall of a museum and it draws us in. We are guided by its form, function and content. This visual possession might lead us to investigate the context of the work and even make connections to similarly attributed work by that artist/movement or artwork from other cultures and eras that share specific thematic ideas.

Since the syllabus is the first document of exchange between a student and teacher, why not make it as compelling and as critical as a work of art? This is certainly what Ball does with his classes at the School of the Art Institute in Chicago where his syllabi encourage students to ditch their mobile phones in favor of long walks; become participants in the Franz Kafka Fancier Society of Chicago; and lucid dream. These course outlines are replete with creative requirements and reading lists that encourage students to think big, take risks and acquire agency for their learning. The visual arts do this very well via the Studio Habits of Mind.

If a syllabus can be defined as “a summary outline of a discourse, treatise, or course of study or of examination requirements,” then visual artists have been creating syllabi since antiquity. Take the Narmer Palette (c. 3200-3000 BCE) from 1st Dynasty Egypt, which has been interpreted as a treatise and guideline describing the dynamic and divine power of a king. The stone palette (typically used for applying makeup) depicts Narmer, who some historians suggest is also known as Menes, uniting Upper and Lower Egypt into one kingdom. The engraving features some of the earliest examples of hieroglyphics, as well as canonical forms for depicting Egyptian gods and kings. There is lots of room for debate as to whether Narmer (whose identity is still unclear) should get the credit for unifying Ancient Egypt. Whatever the case may be, it can be surmised that the stone palette served as an outline that reminded contemporary citizens of the king’s divine prowess.

Another ancient syllabus is the Law Code Stele of King Hammurabi (c. 1754 BCE), a tall stone stele with over 300 laws inscribed using cuneiform script. The script describes an action and the resulting consequence of that action, such as ‘an eye for an eye’ (later appropriated in the Bible). These are requirements of legal and moral conduct that were known throughout Babylonian society. These are ancient ‘course expectations!’

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George Maciunas, Fluxus Manifesto, 1963

Modern and contemporary artists have taken initiatives to define their objectives, goals and contemplative statements of purpose by putting pen to paper.

The Fluxus artists’ instructive prompts read like course materials and assignments that one might see within a creative syllabus. Artist manifestos, such as the ones written by the artists from the Bauhaus and Fluxus movements, and Sister Corita Kent’s 10 Enduring Rules for the Creative Life are types of syllabi. The artist duo Gilbert and George believed in the concept of ‘Art for All,’ which demystifies the oft-abstract and erudite relationship  between the viewer and the artwork. According to them this esoteric art is “decadent and a cruel denial of the Life of People.” Their first manifesto titled The Laws of Sculptors (1969), sought to amend and re-purpose the academic and institutional ideas that defined the medium of sculpture, which they felt was stifling to the growth and development of contemporary artists. They did so in a manner that expressed their sense of humor and challenged the status quo:

“1. Always be smartly dressed, well groomed, relaxed, friendly, polite and in complete control.

2. Make the world believe in you and to pay heavily for this privilege.

3. Never worry, assess, discuss or criticize but remain quiet respectful and calm.

4. The Lord chisels still, so don’t leave your bench for long.”

In his essay titled “Syllabus as Manifesto: A Critical Approach to Classroom Culture,” Adam Heidebrink-Bruno (2014) states that “a well-written syllabus should prove to be a useful educative artifact, embedded with rich cultural and political meaning worthy of much time and contemplation.” Approaching the syllabus in a manner that breaks through the status quo of syllabi –a banal listing of authoritative expectations, grading policy/rubrics, and the mention of office hours as an afterthought to name a few– provides students and teachers with an artifact that serves as a mission statement for co-creating a productive learning environment. With a set of understandings that are encouraging and expressively stated the educator is setting up the tone for a give and take with their students. Starting out the class with a collaborative discussion about a classroom bill of rights would enable students and teachers to define the framework of their learning and behavior throughout the course. Being that it is a bill of rights, these ideas can be amended over the course of time if need be and if it is mutually agreeable to everyone in the class.

A syllabus, like education, is an artifact in flux and should develop and get amended over time. It should reflect the interests of the teacher, while opening the students up to possibilities to go above and beyond the required course content. The syllabus doesn’t have to be a conceptual document, but the more it encourages critical thinking and suggests diverse avenues of exploration, the more contagious it will be. And that might just lead to more engaged (and awake) students! It would be interesting to have a whole course around the ‘art of the syllabi,’ where throughout the semester, the tables get turned and the students create the guidelines, suggested readings, assignments and evaluations for themselves.


References, Notes, Suggested Reading:

Ball, Jesse. 2016. Notes on My Dunce Cap. New York: Pioneer Works Press.

Baker, Harriet. “10 game-changing art manifestos.” Royal Academy, 10 April 2015. https://www.royalacademy.org.uk/article/ten-game-changing-manifestos

Heidebrink-Bruno, Adam. “Syllabus as Manifesto: A Critical Approach to Classroom Culture.” Hybrid Pedagogy, 28 Aug. 2014. https://hybridpedagogy.org/syllabus-manifesto-critical-approach-classroom-culture/

Art on the Spectrum

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Marlon Mullen, Untitled, 2016, acrylic on canvas. Collection of the Portland Museum of Art. Museum Purchase: Funds provided by Shane Akeroyd, © unknown, research required, 2018.19.1

For individuals on the autism spectrum, communicating through visual art can have a positive outcome in establishing their position within the culture at large. This is the case for contemporary artist Marlon Mullen, whose work is featured in the 2019 Whitney Biennial. Mullen is non-verbal, however he utilizes alternative methods in order to speak to others and make his mark on the world.

Mullen has found his means of expression through painting in a style that is both very raw and very refined. His painterly vocabulary is focused on a combination of abstract text and imagery, which he acutely mines and synthesizes from fine art magazines and other cultural periodicals. His form and content often derives from advertisements for exhibitions, article headlines or the covers of these magazines, but the context of his work is unique.

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Marlon Mullen, untitled, 2017, acrylic on canvas. CHARLES BENTON/COURTESY THE ARTIST AND JTT, NEW YORK

The extent of Mullen’s literary comprehension is unclear, and since he isn’t able to verbally converse about his art it would be unfair to make assumptions about his creative intent. However, his aesthetic output signifies clear and concise insight and skill for using visual cues, representation and abstraction in an advanced manner. His paintings reflect the language of modern and contemporary art by breaking down a myriad of representational and non-representational forms into symbolic shapes and color, therein creating new avenues for the viewer’s experience. The paintings require applying acute perception and judgement from both the artist and viewer. They elicit observational (realistic and practical) and intuitive (theoretical and knowledge focused) modes of thinking (cognitive learning) and feeling (social-emotional learning).

Mullen is a strong participant of visual culture with a significant talent for making new meaning from the materials and subject matter he interacts with. His re-presentation of aesthetic and functional aspects within cultural publications utilizes studio habits of mind such as noticing deeply, embodying (experiencing works of art and representing that experience physically) and creating patterns and relationships from what he sees in other aesthetic forms expressively within his own voice.

Marlon Mullen from NIAD Art Center on Vimeo.

 

Artful Nurturing

Nature has an organic way of creatively carving out its path and presenting images of unique aesthetic proportions. Examples can be seen via the intricate lines, shape and harmony of the spider’s web, or the heavy impasto texture and abstract sculptural form of mound building termite’s hills.

Although humans have learned by observing natural phenomena for centuries, our ability to design beyond the limits of our genetic construction has led to the creation of cultural movements such as visual art, music, film and literature. While our collective culture has developed artistically and created a whole new world through new media like the internet and virtual reality, some artists have reflected back upon natural phenomena and explored patterns between our materialized environment and the innate behaviors of the animal and plant kingdoms.

The artist Martin Roth created work in collaboration with wildlife. Through a process that combined laboratory science and studio art, Roth nurtured living organisms in sterile or manufactured settings. Roth studied painting for his MFA, but came to realize that the pigments on the canvas weren’t enough of a vessel for the potent energy he desired to create. So he chose organic matter as his medium. He asserted that “by working with something that was living, changing, growing, I felt like there was actual energy in the work” (Rachel & Roth, 2017).

For example, one of Roth’s works is a ‘drawing’ that is simultaneously a habitat for worms. The worms have taken residency inside of a glass frame and as they move through the soil lines, shapes and values manifest. While Roth turned the traditional technique of drawing on its head, his work still adheres to the enduring aesthetic notions of artistic composition. Roth painted, sculpted and drew by employing a push and pull between artificial and natural materials and subject matter. Roth’s work grows over time, its properties change and it either evolves or comes to an end. It imitates life itself.

 

Roth played with the grid, a time-honored compositional framework in Western art, with his installation titled In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets. The basis behind this work was that a basement (inside the Austrian Cultural Forum New York) full of lavender plants arranged in a compact grid, would grow as a result of Twitter rants from Donald Trump and other inflammatory agitators. As Trump and other blowhards angrily tweeted (and were re-tweeted), the intensity of the fluorescent lights got brighter and the plants grew bigger. The artwork provided a cathartic release from the tenseness of current events and sociocultural turmoil. The lavender plant symbolizes a direct contrast to the vitriol of the ferocious rants. Lavender is used in horticultural therapy to offer relief from anxiety and depression. The burgeoning rows of lavender, with their colorful hues and sweet fragrance, offered a counterbalance to the stressful and bleak moments society manufactures. 

The concept of nurturing human cognition and emotion through creative play with materials is also a major concept of Kindergarten pedagogy. The foundation of Kindergarten, which was developed by Friedrich Wilhelm August Fröbel, combines children’s innate and learned abilities, in order to scaffold their growth into the adult world. Fröbel’s Kindergartens combined both organic activities such as gardening and dancing with human manufacturing and technology, which culminated through his series of ‘gifts’ (see: We all scream for STEAM! Lifelong Learning Through Creative Activities and Mindful Technological Pursuits). This methodology is largely incorporated today, especially in Reggio Emilia and Montessori schools.

The duality between inborn knowledge and experiential learning was significantly addressed by two of the foremost figures in developmental psychology: Jean Piaget and Lev Vygotsky. These are the two contributed fundamental insights into how our minds develop. Piaget asserted that cognition comes about through set stages, while Vygotsky proclaimed that development is continual.  If you have ever heard the phrase ‘nature versus nurture,’ it is basically an abstract that describes the differences in both phychologist’s theories. We now have come to largely accept that these theories are both valid and should be fused together to develop educational curricula and make judgements regarding social, emotional and cognitive learning.

Art educator Judith Burton (2000), argues that young minds develop through both individual and cultural experience. She suggests that art is an effective method of communicating the complex nature of the living environment. We all have an inclination to make our mark on the world. Without any prior references, the earliest humans developed an archetypal visual vocabulary, where similar marks and symbols have been found in locations thousands of miles apart. This shows how expression and symbolic communication is a natural response to the human condition.

Through combining a personalized artistic style and using their culturally formed and learned experiences, a child can create their own profound mark within humanity. Burton claims that this reason is why both the child-centered notion of mind informing art education and the belief in laissez-faire teaching are inadequate. It is not ‘nature versus nurture,’ but rather both working in tandem that lets the child be liberated to think and create compelling visual narratives. The research of Piaget and Vygotsky and its updated scrutiny by Burton, signify that it is a combination of ‘nature’ and ‘nurture’ that account for a person’s development. In other words, while we all have the natural ability to learn and develop, how we perceive the world largely depends on our experience, environment and education (Zucker, 2018).

Through reflecting on the elements of nature and nurture in Roth’s art, we can discover a lot about ourselves and the ways we are both in-tune and out of touch with our natural environment and each other.


This post is dedicated to Martin Roth who passed away at the age of 41 on June 14, 2019.


References, Notes, Suggested Reading:

Burton, Judith. (2000). “The Configuration of Meaning: Learner-Centered Art Education Revisited.” Studies in Art Education, 17-32.

Rachel, T. Cole and Roth, Martin. “Martin Roth on collaborating with nature.” The Creative Independent, 30 Nov. 2017. https://thecreativeindependent.com/people/martin-roth-on-collaborating-with-nature/

Summer Reading List

Congratulations teachers, you are at the finish line for the year! While it is time to trade the classroom for wherever your heart desires, the truth is that art and education never take vacations. Therefore, while you are just relaxing or traveling from adventure to adventure, the following very concise selection of books will keep you feeling inspired to vacation artfully.

I don’t know about you, but museums are an essential part of any travel itinerary I make. This post features two influential books that address engaging experiences at art museums. Museums have evolved into so much more than a repository for fine objects. They have focused on fostering participatory-based relationships with their diverse visitors. The two books that I am recommending below are important resources for understanding contemporary museum models and ensuring that you are making the most out of the museum experience.

Exploring museums in this manner is a vital a learning tool, and should be part of any art (or science, history etc.) curriculum. Museum exploration is a key tenet for social, emotional and cognitive learning, because it enables viewers to perceive and respond to things in a unique way. The museum experience acknowledges that viewers will fulfill their own desired paths while interacting with the physical space, the collection and one another. Museums are great examples of spaces where differentiation of learning styles and dialogical methods (see: Shor & Freire, 1987) for creating knowledge are implemented.

I previously wrote about some pedagogical functions museums have within society in the post The Classroom in the White Box


Screen Shot 2019-06-06 at 12.59.34 PMThe Museum Experience by John H. Falk and Lynn D. Dierking (Whalesback Books 1992), is an experiential research-based book about why people go to museums. In a very clear and concise manner, the authors explain what visitors often expect prior to visiting a museum; what they do when they get there; and what they take away from the experience. The quantitative and qualitative data collected for this book is explicitly explained in a manner that is helpful for anyone who is interested in museology, sociology, curatorial practice and museum education.

Essentially, The Museum Experience is contextualized from the perspective of the viewer. Therefore, it should be especially helpful for museum administrators, curators and educators who are looking to increase engagement and recurring visits.

For example, the book discusses the different ways that visitors move throughout the museum and how they behave while creating their pathways throughout the building. The interactive experience is described in three overlapping categories: Personal Context, Social Context, and Physical Context.

There is a strong pedagogical focus around making the museum experience central to individuals and groups. This vision is bolstered by the philosophy that viewers are meaningful co-constructors of knowledge and experiences within cultural institutions. This philosophy and methodology is applicable to all areas of the museum or institution from accessibility (i.e. museum layout and exhibition design) to special programming that focuses on equity and equality. Museums must be places where everyone in the community is welcome and have the agency to engage with the overarching museum environment. Taking astute account of visitor-centered experiences in conjunction with the demography of visitors is necessary for museum staff to create welcoming participatory spaces that enable visitors to feel comfortable and inspired.

The next book recommendation below takes a very precise and critical look into the individualization of museums and cultural institutions.


Screen Shot 2019-06-07 at 1.26.35 PMThe Personalization of the Museum Visit, by Seph Rodney, Routledge (2019)

Seph Rodney specializes in museology and the ways that we engage with our cultural institutions. His first book, titled The Personalization of the Museum Visit scrutinizes the history of Western museums in order to explore the current framework many institutions have put in place to develop a viewer-centered participatory environment.

Rodney’s research reveals that contemporary museums no longer serve as ‘banking models’ (see: Freire, 2008) where visitors are presented with didactic displays of objects and text, but rather environments that enable viewers to curate their own experiences in dialogue with the museum’s collection and architectural space. Just as pedagogy has progressed to fulfill diverse learning styles and student-centered interests, museology  has taken account of unique interests and diverse identities.

Rodney explains that today’s museums are driven to incorporate distinct factors that are in-line with visitor’s needs. Akin to our collective culture, these needs are influenced by factors such as “social interaction (meeting friends for drinks, for example), spiritual sustenance, emotional connection, intellectual challenge, or consumerist indulgence” (Rodney, 2016). Contemporary museums have addressed these needs by creating inviting spaces for visitors to congregate or contemplate; interdisciplinary events that bring large and diverse groups together; adult and family workshops; artist talks, panel discussions, screenings and other informative programming; and novel culinary and commercial spaces.

Another key area for museum operation is crowdsourcing methods for developing a communal dialectic and collaborative aesthetic in tandem with the public. For example, museums have increased their mission to co-create meaning by giving viewers agency as co-curators, collaborators and exhibitors.

Rodney cites examples of crowdsourcing: In 2014, The Stedelijk Museum in Amsterdam, exhibited collaborative drawings created by visitors while they were at the museum. In the same year, the Frye Museum in Seattle initiated an exhibition called #SocialMedium, which featured a selection of works made by visitors utilizing social media. The Museum of Fine Arts in Boston gave curatorial agency to the public during their exhibition Boston Loves Impressionism, by asking them to vote on the selection of works to be displayed in the show. The popular vote resulted in the final collection of paintings within the exhibition.

These undertakings provide experiences that support experiential learning, collaboration, socialization and the democratization of public spaces. Museums that take heed of the visitors’ unique personalities and treat them as participants, are likely to retain them.


This concludes another edition of suggested books that would be apt for readers of this blog. These titles and the previously suggested publications, fuel my own artful learning and enduring understandings about education, visual art and placemaking. I hope that you will also find meaning in what you read here and make significant connections to your own practice. Happy summer and happy reading! Please feel free to contact me if you have any particular book recommendations in relationship to the integration of contemporary art, museums and educational practices. 


Additional References and Notes:

Freire, Paulo. “The “Banking” Concept of Education.” Ways of Reading. 8th ed. Bartholomae, David and Anthony Petrosky. Boston: Bedford- St. Martin’s, 2008. 242-254. Print.

Rodney, Seph. “The Evolution of the Museum Visit, from Privilege to Personalized Experience.” Hyperallergic, 22 Jan. 2016. https://hyperallergic.com/267096/the-evolution-of-the-museum-visit-from-privilege-to-personalized-experience/

Shor, Ira, and Paulo Freire. “What Is the ‘Dialogical Method’ of Teaching?” Journal of Education, vol. 169, no. 3, Oct. 1987, pp. 11–31, doi:10.1177/002205748716900303.

 

Artful Qualitization: Ecotones

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Meghann Riepenhoff
Installation view of Meghann Riepenhoff: Ecotone
© Yossi Milo Gallery, New York

Meghann Riepenhoff’s cyanotypes prints combine the physicality and symbolic nature of art making in conjunction with Mother Nature’s expressive forces. This collaboration is an awe-inspiring presentation of the clash between environmental cycles and humanity. The cyanotypes are reactions to changing environments due to human interaction and other forces. The prints are part artistic exploration and part scientific experimentation. They are qualitative interpretations of the quantitative data and scientific analysis that measure weather patterns, natural cycles and humanity’s environmental impact.

Riepenhoff’s choice of medium and materials are in dialogue with the past and present fields of aesthetics and science. Cyanotypes are well suited for studying the living environment, as well as producing works of art. Invented in the early-mid 19th century, the alternative photographic process was popularized by Anna Atkins, a botanist and photographer from England. Atkins utilized cyanotypes as a way to document the intricacies of plants and other natural objects by combining her astute eye as a photographer with her knowledge of plant taxonomy. She printed limited edition books of her prints, including Photographs of British Algae: Cyanotype Impressions (October, 1843), which is considered to be the first book illustrated with photographs.

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Meghann Riepenhoff
Installation view of Meghann Riepenhoff: Ecotone
© Yossi Milo Gallery, New York

Riepenhoff’s cyanotypes offer a potent representation of the stress we put on our environment in an alluring and artful manner. For example, Littoral Drift #1170 (Polyptych, Great Salt Lake, UT 08.25.18, Lapping Waves at Shoreline of Antelope Island) was created by placing a sheet of paper prepared with cyanotype chemistry on the shoreline of the south side of the Great Salt Lake in Utah, which is experiencing record low water levels. The Great Salt Lake is divided by a causeway built in the 1950s by the Morrison-Knudsen construction company for the Southern Pacific Railroad. The causeway has restricted the flow of the water between the north and south sides, making levels of salinity uneven and affecting wildlife such as the brine shrimp population. The two sides of the lake are notably different colors and altogether the lake is characterized as an ecotone, which is defined as a region of transition where two or more distinct biological habitats abut. Riepenhoff juxtaposed the south shoreline print with works made on the opposite side of the lake, to symbolize the aesthetic difference in each region’s water composition. This process is akin to the scientific method where systematic observation and measurement are used to test a theory, in this case: what is the difference in water quality on opposite sides of the Great Salt Lake due to its status as an ecotone?

erasure-4-2018.-mrie.20640-approx.89-x-42-inches-mid

Meghann Riepenhoff
Erasure #4 (Bainbridge Island, WA 03.24.18, .23” Precipitation), 2018
Dynamic Cyanotype
Approximately 89” x 42” (226 x 106.5 cm)
© Meghann Riepenhoff, Courtesy of Yossi Milo Gallery, New York

Riepenhoff also explores the aesthetic and vigorous qualities of storm water in another series of cyanotypes called Erasures. These prints are made when the storm runoff hits the prepared cyanotype paper. The length of the storm and the volume of water washing away large quantities of the cyanotype chemistry, results in a light tone with marks that recall painterly brushstrokes.

Data for weather and climate in the form of graphs and Doppler imagery is something that we rely on heavily each day. These data sets tell us about what to expect, but it is often hard to envision the environmental impact of the meteorological event until it is experienced. Art has a compelling way of making implied information relevant to our sense of visual perception, while leaving room for the viewer to interpret and include experiential elements.

Riepenhoff’s artwork visualizes the intricate force and physicality of storms and the variance of ecosystems in real time. The resulting engagement with nature is a subjective approach to capturing the essence of the biosphere and our individual interactions with nature. She can’t control the strength of a wave, the duration of the rainfall or the strength of the storm, but she makes a conscious effort to decide where to place her paper and how long to leave it out in the elements. The overarching result is a body of work that traces both the environment’s volatility and the artist’s deliberate choices.

This duality between consciousness and exploration is a crux of artful learning. The arts help us to develop critical thinking and flexible purposing skills that probe and conceptualize natural and cultural phenomena. The benefit of art-centered learning in scientific research and educational curricula, is that it adds an element of lived experience and personalization to a field largely engrossed in quantitative data and academic research. Art illuminates the ways that we interact with our environment and each other, and its captivating properties can raise awareness for issues affecting our shared natural resources. This is the case for Riepenhoff’s work, which subtly and discerningly depicts our interaction with the rest of the natural world.


Selected works from the Ecotone and Erasure series are on view at Yossi Milo Gallery (245 Tenth Avenue, New York, NY 10001) through June 22, 2019.

 

Artful Quantification: Environmental Graphiti

In an age where data seems to dictate many aspects of our culture, it is nice to see the artful interpretations of Alisa Singer, who transforms quantitative scientific analysis on climate change into colorful and expressive works of art.

Previously, I discussed the work of Nancy Graves, who blurred the line between abstract and representational paintings with her series of works that commented on satellite imagery and mapping technology. Graves’ imagery showed the ways that maps can be a form of both objective and subjective information.

Like Graves, Alisa Singer utilizes the evocative nature of art in order to bring awareness to the way civilizations rely heavily on data and infographics, while not always forming a personal and meaningful relationship to the information. Big data is daunting, and unless you have a background studying it, charts and graphs feel largely removed from the lived experience. In her series of digital paintings called Environmental Graphiti, Singer analyzes charts and graphs from world climate reports, in order to re-present them in a way that stirs emotional responses and aims to get viewers to make deeper connections to climate change. The title of the series incorporates a playful rewording of the art style graffiti to describe the fusion of quantitative data and emotive art. It is an apt name for Singer’s contemporary and hip artworks that resemble the aesthetic and conceptual nature of painterly public art, while spreading scientific awareness.

The elements of art such as color, line and shape have symbolic properties that communicate and make associations to mood, memory and archetypal signifiers. In Singer’s work, these elements are incorporated along with principals of design such as balance, unity and contrast, in order to create compositions that effectively symbolize causes, effects and actions related to addressing climate change.

5c. Emissions Levels Determine Temperature Rise lo res

Alisa Singer, Emissions Levels Determine Temperature Rise, Digital Art on Metal 30″ W X 40″ H. Courtesy of the artist.

 

The Environmental Graphiti paintings are categorized into three identifying topics:

  • WHY is our climate changing? → Gallery A
  • HOW is climate change affecting our world? → Gallery B
  • WHO is at risk? → Gallery C
  • WHAT can we do to address climate change? → Gallery

One example of the ‘WHY’ is Emissions Levels Determine Temperature Rise, a semi-abstract digital painting inspired by a graph from the Third National Climate Assessment, Climate Change Impacts in the United States, USGCRP (2014). Singer uses warm and cool colors in a manner that symbolizes the temperature changes due to greenhouse gas emissions. In ‘HOW,’ paintings like Wildfires expressively portray how climate change is affecting natural disasters by changing the conditions of soil and moisture. The result is an increase in drier conditions that provide ample kindling for devastating wildfires.

 

‘WHO’ is at risk? Every living being on the planet is affected due to a myriad of factors such as disease, caused by rising temperatures, displacement of water sources caused by agriculture and industry. The painting Vector-Borne Diseases resembles the form of a mosquito filled in with a palette of vibrant colors, gesturally blended together. The mosquito is actually composed of text (see sketch above) related to vector-borne diseases such as Dengue Fever, Malaria and Zika. The enduring question of ‘WHAT’ we can do to address climate change, is presented through works such as Climate Change Mitigation and U.N. Sustainability Goals. In this digital artwork, Singer illuminates the United Nation’s Sustainable Development Goals (SDGs), which was adopted in 2015. The original chart that the painting was based on, shows the correlation between sustainable development that protects the environment, and social development such as poverty eradication and reducing inequalities. The painting translates the U.N.’s graph into  glittering bands of color, as if to symbolize the hope and perseverance for reversing negative cultural and environmental trends.

75c. Climate Change and UN Sustainability Goals

Alisa Singer, Climate Change Mitigation and U.N. Sustainability Goals, Digital Art on Metal 30″ W X 35.4″ H. Courtesy of the artist.

Singer’s combination of art and science helps make data more appealing and compelling because it transforms big data into a visual narrative that can be described, analyzed, and valued using both concrete and abstract thought. We are able to assign feelings to the quantitative information due to the elements of art and design at play in these compositions. This adds a component of compassion and enables us to make connections between statistics and our daily life experiences.

While data is a great way for scientists and policy makers to organize and keep track of their research and facts, it isn’t always the best determiner for learning. Not everyone in the populace thinks along analytical mindsets (see: Differentiation and Multiple Intelligences). Learning is experiential; based on a combination of observation, socialization and the connections we make between ourselves and the world around us. These elements cannot often be neatly charted or mapped out. The work of artists like Singer and Graves, eloquently express how a painting can be worth ‘a thousand words,’ or in the case of the Environmental Graphiti series, sets of raw climate data.