Strengthening Cultures & Literacy through Art for the 21st Century

In a previous post titled Connecting Culture Through Experience and Education, I described contemporary artist Pablo Helguera’s use of the written word and storytelling as a means to explore language, immigration and identity. Through projects like The School of Panamerican Unresta four-month long road-trip across the Panamerican Highway that documented a myriad of indigenous spoken dialects, and Librería Donceles, a non-profit used bookstore for Spanish language literature and events; Helguera devotes a large part of his artistic practice to create multidisciplinary portraits and living archives of language and culture.

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Ceramic sculptures by Stephanie H. Shih. Photo by @brandicheyenneharper for @gasworksnyc. Courtesy of the artist.

I recently learned about Stephanie H. Shih‘s ceramic sculptures, which embody culinary items in Asian-American homes. Shih’s sculptures are social, emotional and cognitive reflections of Asian-American diasporic culture. They are representative of what it is like to immigrate to far away places and incorporate both new and traditional concepts that signify a unique cultural and communal identity. Shih makes connections with other members of the 20 million (and counting) diaspora through many overlapping culinary memories, which represent personal significance and collective experiences. The ceramic food replicas are vessels, enshrining heartfelt bonds between diverse individuals who share similar cultural heritage. In her artist’s statement Shih says:

“Through the lens of the Asian-American pantry, my ceramic sculptures explore how shared nostalgia can connect a diaspora. For first-generation Asian Americans, the finite collection of imported grocery brands from our youth has become shorthand for parallel childhoods raised by immigrant parents. To meet strangers who have memories of eating the same can of fried dace –a small fish preserved with salted black beans– is to discover a sense of belonging. Replicating these kitchen staples in clay immortalizes both the shared memories and the feeling of finding the nonexistent homeland of Asian America” (Shih, n.d.).

These are just two of the many examples of how contemporary art is created, presented and contextualized in a manner that reflects globalization and migration. Ideas, images and works of art travel far and wide, due to artistic discourse being spread more fluidly throughout the world. Advances in technology and the proliferation of museums, galleries, biennials and residency programs is making art more accessible to heterogeneous audiences. As a result of these aforementioned factors, artists (and other cultural producers) who are separated by borders are more easily able to collaborate and partake in collective art making (see: Representing Pittsburgh and Tehran and Transcending Boundaries).

Art has its own forms of language that facilitate the exchange of visual information and act as a liaison between individuals and groups from different cultural backgrounds. Visual art can also be a catalyst for developing speech and literacy skills that support multilingual learning in the educational system. This is especially beneficial for communities with large immigrant populations who can harness the expressive and dialectic values of visual art, in order to strengthen their social and cognitive skills in their native and emergent languages.

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CALTA21 Classroom. Courtesy of the Visual Arts Center of New Jersey.

Some art institutions are embracing their role in teaching language and literacy skills to immigrant students through contemporary art. The Visual Arts Center of New Jersey is expanding its programming for English language learners, conducted in partnership with the Elizabeth Public School District. Their program, which has been implemented for 8th and 9th grade students, was created with help from Cultures & Literacies through Art for the 21st Century (CALTA21), a national initiative focused on creating a dynamic environment where museums provide authentic, meaningful and engaging learning experiences to immigrant communities. CALTA21 is rooted in professional development for English language teachers. Educators partnering with the Visual Arts Center of New Jersey are given training that helps them create literacy curricula in support of their diverse students who are learning English as their second (or third, fourth etc.) language. Through a dialogic method of participatory art-based discourse, students are empowered to share their narratives of immigration. Essential questions that are needed to effectuate and sustain this kind of pedagogy are: “how can art museums create space for the exploration of linguistic and cultural diversity and what role can they play in strengthening the immigrant voice?”

CALTA21 uses Visual Thinking Strategies (VTS) as a methodology to encourage the development of  observation and speaking skills. There are many ways to scaffold learning by taking the time to carefully look at artworks in galleries. Embodied learning is one learning approach (see: Embodied Learning Makes ‘The Classics’ Relevant) where students physically engage with works of art in order to build personal and collective understandings about the work’s form, function and content. This type of participatory learning strengthens observational and communicative skills because it includes a critical discussion around what elements students can relate to within a work of art and how they might incorporate those elements into their own realm (Zucker, 2018). Developing an art vocabulary is important, not only in the discussion around works of art, but also for applying that language to other subjects and aspects of life experience. Talking about art is beneficial to building language skills, because observing art requires a command of descriptive words that support critical thinking and noticing deeply. As students develop their own evidence-based interpretations about art, they learn to trust their eyes and the value of their own opinions while building collective knowledge via gallery visits and artmaking exercises.

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CALTA21 participants discussing a mural by Kevin Blythe Sampson at the Visual Arts Center of New Jersey. Courtesy of the Visual Arts Center of New Jersey.

Communicating thoughts and observations with others through CALTA21, has been proven to strengthen the literacy and critical thinking skills of participants. Anamaria Llanos, one of the lead Elizabeth School District teachers in the program, has seen firsthand how incorporating CALTA21 into her curriculum and lesson plans has increased student engagement and efficacy of language and literacy:

“CALT21 cultivates language and free thinking. It nurtures a dynamic environment where students are guided through thought provoking questions to engage prior knowledge and their imagination; develop and strengthen their voice; and promote language thought process. There is nothing more intimidating than talking about art, yet with CALTA21, a relaxed and non-judgmental atmosphere is created by the students themselves. Their eagerness and enthusiasm to participate and facilitate their own CALTA21 session at the museum is a teacher’s dream. The program encourages students to think outside of the box, be creative; and become more assertive in the way they look at the world” (Llanos, 2019, quoted in a press release from the Visual Arts Center of New Jersey).

Making art accessible to multilingual viewers should be at the top of every museum and cultural center’s mission. By incorporating CALTA21 in their programming, the Visual Arts Center of New Jersey –the state’s largest largest institution dedicated exclusively to  contemporary art– is providing a valuable opportunity for the 22.1 percent of the state’s immigrant population (as of 2015) to engage in viewing, making and learning through art. Other cultural institutions such as The Hudson River Museum have programs that support young docents who represent a spectrum of international backgrounds. Their junior docent program consists of students from each of the City of Yonkers’ public high schools, representing the city’s culturally, economically and socially diverse communities. Many of the docents are first generation Americans or recent immigrants to the United States. Participants in the program speak many different languages and have a variety of interests including art, science, dance, history and fashion. Having informational guides who speak multiple languages and have experiential knowledge about specific cultures, makes museums and their collections more accessible and relevant to more communities. Global Guides, Penn Museum’s docent program, employs refugees from the Middle East as gallery guides who lead visitors through thematic tours of the museum’s Middle Eastern collection of art and artifacts. Because these docents have lived in many of the regions where the art originated, they offer visitors unique insights and personal connections to the objects on display.

As people move from place to place to seek better opportunities or asylum, the incorporation of immigrant and refugee narratives into art and art education is necessary to reflect the diversity of our multicultural communities. Programs like CALTA21 and the aforementioned museum docent initiatives, give immigrants much needed authority to communicate and present their experiential knowledge in their own voices. What they have to say is also beneficial for developing empathetic understandings of the world at large.


References, Notes, Suggested Reading: 

Jia, Olivia. “Refugees Connect Their Personal Stories with a Museum’s Ancient Artifacts.” Hyperallergic, 19 Feb. 2019. https://hyperallergic.com/484835/global-guides-program-penn-museum/

Shih, Stephanie H. (n.d). “Artist’s Statement.” https://theartsandeducation.files.wordpress.com/2020/01/32dc1-cv_public.pdf

Visual Arts Center of New Jersey. “Visual Arts Center of NJ Receives IMLS Grant to Partner with Elizabeth Public Schools.” Visual Arts Center of N.J. Press Release, 20 Nov. 2019.

Zucker, Adam. “Embodied Learning Makes ‘The Classics’ Relevant.” Artfully Learning, 27 Apr. 2018. https://theartsandeducation.wordpress.com/2018/04/27/embodied-learning-makes-the-classics-relevant/

Underground Education

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Lee Brozgol, The Greenwich Village Murals: Providers (left panel), 1993, ceramic and mosaic.

The subway seems like one of the least likely places to be inspired in all of New York City, especially with apparently endless service delays, cuts and overcrowded conditions. However, if you allow yourself to look past the bureaucratic incompetence and exercise  a flair for discovery, you will notice that the subway system is a living museum where New York City’s youth have had a major role in creatively communicating their place within the urban environment.

One of the aspects that keeps the subway system from feeling like a dystopia is its abundance of public art in stations throughout the Bronx, Brooklyn, Queens and Manhattan. There is work by some of the most influential Modern and Contemporary artists like Sam Gilliam, Nancy Spero, Elizabeth Murray, Eric Fischl , Faith Ringgold and William Wegman (who recently contributed mosaics of Weimaraners in human clothes). There is a concise Subway Art Guide, where you can view images and find out the locations of art within New York City’s subway stations.

While all of these great works by well known artists might inspire joy and contemplation during the hectic commute, it is the art of the city’s children that arguably provide the greatest sense of hope and inspiration. The city’s transit system is full of artwork that was realized by the imaginative and insightful nature of kids, both working on their own and collaborating with working artists. A previous Artfully Learning post, Collaborating with Kids: Problem-posing Models for Profound Works of Art, describes how the ‘Four Cs’ of 21st century learning: Creativity, Critical Thinking, Collaboration and Communication, are strengthened when contemporary artists and kids collaborate on projects. These social, emotional and cognitive skills are highly visible in the following examples of youth-centered artwork.

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Lee Brozgol, The Greenwich Village Murals (providers panels), 1993, ceramic and mosaic.

The Greenwich Village Murals by Lee Brozgol, located on the platform of the Christopher St.-Sheridan Square subway station (serviced by the 1 train), is an example of how, with the guidance and expertise of an artist, children learned to break down and synthesize complex ideas into symbolic images. Nine students in the 5th and 6th grade from P.S. 41 were selected to partake in this project with Brozgol. The students were prompted to make composite drawings that addressed the topic of identity by illustrating subjects that reflect iconography and actions that shaped the West Village.

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Lee Brozgol, The Greenwich Village Murals: Bohemians (center panel), 1993, ceramic and mosaic.

Choosing who to depict was a challenge. The history of such a vibrant community is a vast and multifaceted topic, therefore the figures depicted in the mural are diverse, spanning time, cultural backgrounds and ideologies. The murals are organized by themes, in which each of the figures are assigned. There are the ‘founders’ who include a member of the Lenape people and the 17th-century Dutch land developer Wouter Van Twiller, which considers the Village’s indigenous and colonial habitation. The ‘providers’ include Mary Simkhovitch, an early 20th century social worker, city planner and  co-founder of Greenwich House, which was initially developed to provide services to help the influx of immigrants adapt to life in the City. The ‘bohemians’ feature cultural icons like Mabel Dodge, a noted art patron who hosted a renowned weekly salon in her apartment at 23 Fifth Avenue. Lastly, there is the ‘rebels’ mural, featuring Thomas Paine, the author of Common Sense, a political pamphlet that fueled America’s War of Independence. Paine lived at what is now 309 Bleecker Street.

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Ceramic tile from Westside Views by Nitza Tufiño and 17 adolescents. Photograph by Adam Zucker.

Another large underground display of student-centered art can be seen if you take the 1 train uptown to 86th Street. There you will find a station-wide collaborative art installation titled Westside Views (1989), by Nitza Tufiño and 17 young New Yorker’s, mostly from the Grosvenor Neighborhood House‘s school equivalency and educational program (The Grosvenor Neighborhood House was a local organization that began serving the community as a settlement house in 1916). The installation consists of 40 ceramic glazed tiles, each depicting an adolescent artist’s visual perspective of the Upper West Side. The tiles feature vibrant neighborhood scenes that celebrate diversity and community spirit. They portray prominent landmarks like the Hayden Planetarium (at the nearby Museum of Natural History), and intimate scenes such as two fathers strolling with their babies, three generations of women sharing food on a bench and children playing on the playground. Westside Views weaves together the colorful myriad of people, places and things that make a neighborhood flourish.

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Installation view of Beautifying Briarwood in the Briarwood/Van Wyck Boulevard station,  2006. Photo by Brian Weinberg on www.nycsubway.org. (c) Brian Weinberg, 2006.

In Queens, students from Briarwood schools made statements on the theme of identity, through a series of mural paintings collectively titled Beautifying Briarwood (displayed at the Briarwood-Van Wyck Boulevard station, serviced by the F train). One of the most unique aspects about this project was that the murals represented the different phases of K-12 artistic development (see: Louis, 2005) because students of Archbishop Molloy High School, M.S. 217Q (middle school) and P.S.117Q (elementary school) all contributed to the paintings. Unfortunately the paintings were removed during station renovation in 2014, although some are archived through installation photographs. From the documentary photographs, it is apparent that these student realized works of art brightened up the dimly lit and monotonous corridors of the station. It also must have been efficacious for students to see their work in such a public setting and to share their symbolic works of art with the community.

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Jimmy James Greene, Children’s Cathedral, 1996, ceramic mosaic. Courtesy of MTA Arts & Design NYCT Percent for Art.

“They were the soloists, I was the orchestra leader,” Jimmy James Greene says about his monumental monumental mosaic mural Children’s Cathedral (1996) in the Utica Avenue station (Brooklyn, A train). The mosaic was created through a discourse that Greene had with local students regarding their modes of playing, learning, faith and cultural celebrations. Then Greene prompted the students to draw pictures based on the dialogue they had. The result is a whimsical and inspiring range of imagery including a mother nurturing her children, a teacher in class, and a large variety of activities performed by children (jumping rope, singing in choir, reading and more). Greene arranged and used the children’s drawings to create his final composition, which adorns the passageways leading to the train platforms.

Besides being great works of art for straphangers to enjoy, these aforementioned artworks reveal the benefits of artists collaborating with young people. The creative process involves many important habits of mind and skills such as making connections between art and daily life, interdependent learning and socialization. These habits of mind (see: Educating Through Art and Costa and Kallick, 1996) have lifelong benefits for developing creative and critical thinking. All of these projects required a cooperative and non-hierarchical structure that fosters teamwork and empowers young people to realize their abilities to communicate symbolically. Their visions provide both a respite for weary travelers and a way to express their place within the City they are a part of shaping and progressing.


References, Notes, Suggested Reading:

Bloodworth, Sandra, Ayers, William. 2014. New York’s Underground Art Museum: MTA Arts & Design. New York: The Monacelli Press.

Costa, Arthur L. and Kallick, Bena. Habits of Mind: A Developmental Series, Victoria: Hawker Brownlow Education Pty Ltd, 2004.

Landrum, Susan. “Subway Station Art: The 1 Train’s 86th Street Station,” Finding NYC, 29 May 2017. https://findingnyc.com/2017/05/29/subway-station-art-20/

Louis, Linda L. “What Children Have in Mind: A Study of Early Representational Development in Paint.” Studies in Art Education, vol. 46, no. 4, 2005, pp. 339–355. JSTOR, www.jstor.org/stable/25475761.

National Education Association. An Educator’s Guide to the “Four Cs.” http://www.nea.org/assets/docs/A-Guide-to-Four-Cs.pdf

 

Creating a paradise

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Carla Herrera-Prats, Prep Materials, 2008, Digital prints from 4×5 negatives, digital prints from scan material, slide projection (40 slides), charcoal, vinyl lettering, duotone printed matter (edition of 1000 issues).

What is an appropriate assessment of what makes good educators and good artists? Can the idea of being ‘good’ be quantified by esteemed awards or test results? To some people in both the institutional worlds of art and education, that is probably the key standard for determining successful performance and achievement. Qualitative assessments of what makes educators and artists stand out are far more complex, but it is arguably the more impactful way to recognize the influence that they have within their fields and the culture at large.

Good artists and good educators enable their viewers and students (respectively) to construct additional and experiential knowledge around the material that they present. This means that educators and artists develop a personal understanding of their community and scaffold their work to ensure that they are relating to more than just a controlled group of like-minded individuals. Education and art are transformative disciplines that reflect the contemporary condition and inspire us all to be more human. A good education as well as a good work of art encourages the formation of collaborative empathetic responses to critical humanist issues facing our collective culture. Artists and educators should make space for dialogic relationships that affirm other people’s narratives and ideas towards their work. This is the crux of critical and problem-posing pedagogy (see: Freire, 1970), which suggests that an equitable and liberated education arises through discourse and cooperative construction of knowledge and understanding.

When art and education are explored as acts and expressions of love, they empower  socially engaged interactions (see: Freire, 1997). Obtaining a problem-posing pedagogical framework, based on acts and expressions of love is hard to quantify with data. On the other hand, standardized testing and personal achievement is easier to measure with statistics. Our current social structure typifies success with data. It utilizes data to reward and elevate those who score well on tests or accrue significant economic gain. This model doesn’t signify the equal, equitable and justice inspired ideology of our political and educational systems, but it is the reality of our purported ‘democratic’ institutions.

Carla Herrera-Prats addresses this fallacy in her multidisciplinary artwork, which makes humanist inquiries into the purpose of education, labor, politics and economics. Her work can be described as what Pablo Helguera (2011) defines as “transpedagogy.” According to Helguera, this term refers to artistic endeavors that “blend educational processes and art-making in works that offer an experience that is clearly different from conventional art academies or formal art education.”

Within Herrera-Prats’ work, she juxtaposes texts and images, often culminated via archival research, in order to make the underpinnings of institutional oppression visible, and elevate the voices of progressive historians, educators, artists and archivists. In Prep Materials (2008), she addresses the enduring question of what influence quantitative assessments have on both education and politics. Como un Cerillo (2008) depicts an alternative narrative to the oft-negative perspective of one of Mexico City’s neighborhoods, Tepito. Official Stories (2005-2006) reveals the way that the Mexican government has appropriated pre-colonial culture as agitprop to support nationalist interests, and how that contrasts with the way diversity and pre-Hispanic narratives are presented in the public school curriculum.

Prep Materials makes connections between the formation and evolution of ‘efficient’ technology to score the SATs, developed by IBM, Educational Test Service (ETS), and the Measurement Research Center. The same technology created for scoring SATs was utilized for the invention of the ballot machine as well as contemporary desktop scanners. Prep Materials displays photographs, text, a slideshow and drawings that refer to the archives of the aforementioned institutions. The saying ‘everything measured is everything done,’ which when installed (in both Los Angeles and New York) was affixed to the lower half of a gallery wall via vinyl letters; is indicative of society’s reliance on quantitative analysis to inform and motivate the way productivity is rewarded. It paraphrases a familiar quote (origins unknown), which is ‘what gets measured gets done.’ Herrera-Prats is clearly not suggesting that this is the most effective way of defining productivity and success within our standards of living. As she states: “moving beyond the common criticism against standardization and its supposed translation into better education, this exhibition focuses on the fallacy of relying on “efficient” technologies in order to realize the principles of democracy.”

How does one measure happiness and the selflessness of serving one’s community? Many altruistic efforts go unnoticed. Herrera-Prats’ work at large investigates the confluence of what is measured and what isn’t measured, in order to show the paradox of measuring data, and how quality of life rejects data driven narratives.

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Carla Herrera-Prats, Como un Cerillo, 2008, black and white photocopies, plastic boxes, vinyl and painted lettering and 10 min. audio loop.

Como un Cerillo is an audio/visual archival presentation based on the work of Alfonso Hernández, a longtime resident of Tepito, who has been creating a living archive of the neighborhood that is free and open to the public. Hernández’s magnum opus has been working to archive and present materials that celebrate the rich history of Tepito and inspire communal spirit among his neighbors. Alongside some examples of Hernández’s archive, are songs that have a cultural impact on the community. They represent music that was imported from South American countries via the neighborhood’s black market. This type of music, which includes cumbias and other tropical rhythms, are played by DJs at night markets. They provide a respite from the hectic urban environment. The fusion of Hernández’s archive and the lively music, present an alternative to the negative perspective the neighborhood receives in the mainstream media.

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Carla Herrera-Prats, Official Stories, 2005-2006, 100 catalogues, 4 textbooks, 2 videos, chalk, vinyl lettering.

Official Stories displays materials from exhibition catalogues that were sponsored by the Mexican government. These catalogues supplemented major exhibitions that toured the world, promoting the rich history and diversity of Mexico from its Mesoamerican roots to its present day melting pot of indigenous peoples, people of Hispanic decent and immigrants from all over the world. In Mexico, cultural artifacts and art are protected under strict laws. They are not allowed to be sold for profit, but have been used to increase tourism, which is why these exhibitions are held in such high regard and promoted far and wide. In contrast, the textbooks from public schools have seen a decrease in cultural diversity. The images and narratives have experienced a transformation signifying a highly selective pedagogy of pre-Hispanic and indigenous culture. While there used to be images celebrating indigenous and proletariat themes, more recent textbooks have gradually replaced these images with photographs (such as an aerial view of the landscape) that are devoid of sociopolitical context. Juxtaposing materials from exhibition catalogues and textbooks published between the 1950s and 2008, the installation forms patterns and makes connections between the rise of national identity, which celebrates diversity, and the decline of multicultural education. As Herrera-Prats (2008) explains:

“This project was not and is not about forming conclusions regarding how much children today are actually learning about their pre-Hispanic past. The most that we can say, by looking at the chalk indexes, is that they are certainly less exposed to it now than they were in 1959. Rather than measuring their learning itself, my methodology allowed for the display of a paradox in which the Mexican government and its cultural institutions has become entangled. In their efforts to carve a niche in the global scene, they have promoted abroad the very image whose effacement conditions progressive identity, namely: the diversity of pre-Hispanic cultural inheritance”

Archives and historical documents are used as a teaching resource to allow viewers of Herrera-Prats’ installations to spend time with primary and secondary sources, and formulate their own enduring understandings of what they see/read with their prior knowledge and cultural understandings. It is a way of opening a dialogic relationship between the past and the present culture. It is an important and profound experience that enables us to understand how history is used and manipulated for specific ideological interests. Secondary sources and critical/institutional interpretations of archives can establish a narrative that is both implicit and explicitly bias. It takes a discerning and liberated mind to critically examine these literary and visual documents. Prats’ presents her sources, asks us to consider multiple perspectives and leaves the role of making value judgements to us.

Going back to the essential question of what makes good art and good education, one enduring understanding is that both disciplines empower us to think radically within traditional mainstream cultural environments. While employing curricula that focuses on comprehension skills is fine, it needs to be supplemented with the development of liberal knowledge. Traditional methods of ‘reading for comprehension’ can have a devastating affect on marginalized individuals particularly, because they are being asked to read and digest ‘required’ texts in a formulaic manner, without a deeper understanding and a critical discourse around its cultural implications. In other words, the sole purpose is to develop didactic reading skills without much discussion and focus on themes and content that relates to more diverse social and culture issues (see: Wexler, 2019). Good artists and educators know this and provide ample moments for student/viewer reflection. They welcome discourse and take pride in the fact that learning and understanding is a communal act, supported by expressions of empathy and cooperation.

As bell hooks (1994) says, “the academy is not paradise. But learning is a place where paradise can be created.” The act of learning can manifest wherever people come together in collaboration to support and uplift each other’s voices and create informed responses to contextual information. Education and art are labors of love (see: Labor of love: art, activism, collaborative learning) and their impact cannot be neatly managed or maintained. They are both rhizomatic practices in nature and their success relies on the manner in which they inspire collaborative social action and democratic dialogue. While the aforementioned projects were created through Herrera-Prats’ solo practice, she had devoted her creative and socially engaged output in collaboration with artist Anthony Graves and the Camel Collective from 2008 until her recent untimely death. May her memory be a blessing and may her work continue to inspire artful learning and critical pedagogy.


References, Notes, Suggested Reading:

Freire, Paulo. Pedagogy of the Oppressed, New York: Continuum, 2007.

Freire, Paulo. Pedagogy of the Heart, New York: Continuum, 1997.

Helguera, Pablo. Education for Socially Engaged Art, New York: Jorge Pinto Books, 2011.

hooks, bell. Teaching to Transgress. New York: Routledge, 1994.

Herrera-Prats, Carla. “Official Stories,” Invisible Culture, Issue 12: The Archive of the Future / The Future of the Archive, May 2008. Accessed 13 Dec. 2019 https://www.rochester.edu/in_visible_culture/Issue_12/herrara-prats/herreraprats.pdf

Ubanell, Rosana. “Tepito, the Mexico slum where one day you’re alive and the next you’re dead,” efe.com, 2 March 2019. Accessed 14 Dec. 2019 https://www.efe.com/efe/english/life/tepito-the-mexico-slum-where-one-day-you-re-alive-and-next-dead/50000263-3913882

Wexler, Natalie. The Knowledge Gap: The hidden cause of America’s broken education system – and how to fix it. New York: Avery, 2019.

Labor of love: art, activism, collaborative learning

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Sol Aramendi, Apple Eco Power. Courtesy of Eva Mayhabal Davis.

Creating art and reflecting on artwork is often a cooperative experience that supports empathic responses to lived experiences. Both the artist and the viewer put effort into formulating understandings of issues affecting the cultural environment. In this respect, art informs us about the lives of others and raises our consciousness regarding how we view ourselves and others within the culture at large.

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El Coop Mobile, Installation at Queens Museum. Courtesy of Eva Mayhabal Davis.

Making art is a labor of love that employs a combination of social, emotional and cognitive actions. Artists make art because they care about expressing themes that impact the human experience. Art is a wonderful methodology for experiential learning, because it allows the artist and viewer to engage in a cooperative dialogue. The artist makes the artwork around a theme of their interest, and then it is left to the viewer to find value within the work and make their own unique connections to it.

I advocate throughout this blog that art doesn’t have to be realized within the traditional ‘art world’ (see: Danto, 1964). I disagree with the idea that something is only defined as art if it is established by art academics, critics and institutional professionals. While not everyone who makes art is going to be recognized in the field of fine arts, everyone has the ability to live artfully. Living artfully means translating the studio habits of mind that we learn from the arts (see: Educating Through Art) into everyday actions. Contemporary artists like Sol Aramendi, are making an important contribution to both the institutional art world and the larger world outside of the creative sector.

Aramendi immigrated from Argentina 17 years ago and collaborates with local immigrant populations to realize socially engaged artworks. Her recent creative partnerships include the Workers’ Studio, an ongoing project with women day laborers who come from diverse backgrounds. The common thread between Aramendi and the women laborers is their advocacy for workers’ to reverse the exploitation of labor, which includes wage theft and unsafe working conditions. Under the auspices of the Workers’ Studio, art making is the vehicle for raising awareness in support of equal, equitable and justice driven labor systems.

Aramendi’s artistic initiative is a form of social sculpture (see: Everybody is an Artist), where the act of making art reflects social conditions such as immigration and the right to a living wage. The Workers’ Studio is nomadic, meaning that it can be successfully implemented in all sorts of environments. This element is important both functionally and symbolically for addressing themes of labor and immigration. Because the project can move from place to place, it is easily accessible to a wide group of participants, whose narratives signify a vibrant tapestry of experience and creativity. The artistic contributions, which are on display in an exhibition at the Queens Museum titled Workers’ Studio: El Co-op (curated by Eva Mayhabal Davis), come from women who have organized into co-op businesses, where each worker owns a share in the company. The co-ops who have artworks featured in the exhibition are: Love & Learn Childcare Cooperative, Apple Eco Cleaning, Brightly Port Richmond Cleaning Cooperative, and Mirror Beauty Cooperative. The work created by the workers of these co-ops include photographs, writings and mixed-media objects. There are several workshops and events throughout the course of the exhibition (on view until January 12, 2020) that support creative discourse and action around the issues of labor and worker organization.

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Materials and resources at the El Coop Mobile. Courtesy of Eva Mayhabal Davis.

One of the benefits of participatory art projects, is the collaborative/cooperative learning aspect that comes from sharing and relating experiences. Collaborative/cooperative learning expands our ability to understand and express ourselves through scaffolding and building upon each other’s skills and resources. In the educational realm, this pedagogical approach “promotes interaction among students and shared responsibility for academic achievement” (Stein and Hurd, 2000).  Similarly, the work created through the Workers’ Studio supports the reciprocity of ideas, resources and authority, in order to benefit all members of the collective. The personal stories that are expressed via the creative process inform us about the power of coming together and raise our consciousness towards advocating for worker’s rights, and human rights. You can see the labor of love within the imagery and materials on display.


References, Notes, Suggested Reading:

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

Stein, Ruth Federman & Hurd, Sandra. Using Student Teams in the Classroom. Bolton MA: Anker Publishing Company, Inc. 2000. admin.leeuniversity.edu/Media/Website%20Resources/pdf/cte/SteinHurd_UsingStudentTeams.pdf.

Rebelling against the whitewashing of history

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Still from Dread Scott’s performance On the Impossibility of Freedom in a Country Founded on Slavery and Genocide, 2014, produced by More Art. Courtesy of More Art.

Contemporary artist Dread Scott uses history as a medium to scrutinize ongoing systems of racial injustice. His work is largely performative and involves revisiting horrific moments in American history to shed light on racism and sociocultural injustice. In his performance On the Impossibility of Freedom in a Country Founded on Slavery and Genocide (October 7, 2014, produced by More Art), Scott referenced the 1963 civil rights struggle in Birmingham, Alabama, where city agents used water cannons in an attempt to suppress activists who were organizing against the city’s racist segregation laws. In a feat of physical endurance and emotional fortitude, Scott attempted to cross from one side of a public plaza in Brooklyn to the other while being bombarded by a powerful stream of water shot from a fire hose.

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Still from Dread Scott’s performance On the Impossibility of Freedom in a Country Founded on Slavery and Genocide, 2014, produced by More Art. Courtesy of More Art.

In attendance, was a group of high school students from Brooklyn (Gotham Professional Arts Academy in Bedford-Stuyvesant), who wrote eloquent, powerful and passionate responses to On the Impossibility of Freedom in a Country Founded on Slavery and Genocide, and highlighted the myriad of social justice issues affecting their local community. Some of the students’ responses were published on More Art’s blog. Scott also visited the school and engaged in a discourse with the students in a “town hall” style meeting to address the epidemic of racial tension, police brutality and social inequity in New York City. In their classroom meetings, students discussed ways they could activate positive change within their communities. They created informative fliers and zines to display and handout in their school, and organized a student union, in order to speak out against the new Jim Crow (see: Alexander, 2010) and other issues affecting equality, equity and justice. The students’ involvement in civic engagement is a hopeful sign that current and future generations of youth are discerning the roles they have in reversing the whitewashed narrative of Western culture.

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Dread Scott, Slave Rebellion Reenactment, 2019. Photograph by Micaela Martegani. Courtesy of More Art.

Dread Scott’s latest project, Slave Rebellion Reenactment, which he presented in New Orleans on November 8th and 9th, was a reenactment of a slave rebellion in Louisiana called the German Coast Uprising of 1811. The German Coast, a 100 mile curvilinear stretch of high-yielding land between Baton Rouge and New Orleans, was settled by colonists in the 18th century and became the location of many plantations owned by planters and slave owners like Manuel Andry. The cash crop of the region was sugarcane, and its high demand resulted in very harsh and demoralizing conditions for the enslaved black individuals who were forced to cultivate it.

On January 8th of 1811, around 25 slaves from plantations along the German Coast rose up against their owners. In the dead of night, the group of slaves led by Charles Deslondes, killed Andry’s son Gilbert and chased a wounded Andry off his plantation. As Deslondes and his faction moved along the German Coast, the number of revolutionaries increased tenfold (although the exact number is debated among historians). Ultimately, the lack of combat training and tactical skills on behalf of Deslondes and his militia led to their defeat after just two days. The rebels caused severe damage to the plantations, but suffered far more casualties than their adversaries. In the aftermath of the event, the white majority used their wealth of resources and position of political power to further dehumanize and oppress the black population.

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Dread Scott, Slave Rebellion Reenactment, 2019. Photograph by Micaela Martegani. Courtesy of More Art.

The German Coast Uprising of 1811 was the largest slave rebellion in United States History, yet it is largely forgotten today apart from local culture (see: Oliver, 2019). While many U.S. history textbooks mention Nat Turner’s slave rebellion, which happened 20 years later in Virginia, Charles Deslondes and his valiant uprising has received far less historical attention. Princeton professor and historian, Rhae Lynn Barnes, hypothesizes that the lack of knowledge around the German Coast Uprising might be due to the fact that Louisiana was a recent addition to the United States (via the Louisiana Purchase in 1803) and “therefore still seen as untamed territory where violence and lawlessness could be anticipated” (Barnes, 2015). Another explanation is that some states are still struggling to come to terms with their white supremacist legacy and efforts to gloss over and cover up these narratives satisfies their cultural narrative far better than reconciling with centuries of gross racial injustice.

The idea of a slave rebellion reenactment had been a long-term artistic goal for Dread Scott. However, when planning the theme and other elements of such a project, Scott was initially unaware of the German Coast Uprising of 1811. Prior to learning about the uprising, he had planned to enact a conceptualized slave rebellion, featuring seminal revolutionaries like Nat Turner and Gabriel Prosser (Smith, 2019). Since Scott’s artistic practice is rooted in historical analysis and research, he eventually came across accounts of the largest slave rebellion in the United States. Like a scholar of history, Dread scrutinized primary sources via archives and public records, as well as secondary sources from modern historians. While going through the process to plan the performance, he paid careful attention to details such as the costumes, weapons and logistical routes relating to the fateful 48+ hours of rebellion along the German Coast 208 years ago. Scott immersed himself within the local New Orleans communities where his performance took place. Part of the organizational planning included talks with local historians and students at local colleges. Scott wanted to make sure that he was representing the spirit of Charles Deslondes and his brave cohort of revolutionary minded individuals.  Due to the fact that the rebellion isn’t in many history books and that the written history coming from primary sources is murky (because records of the rebellion where kept by the same authority figures who sought to suppress it), Scott relied on educated hypotheses from local historians Leon Waters and Malcolm Suber. Although he wanted to present the event as authentically as possible, one alteration that Scott purposefully made to the historical account is the ending. Scott wanted to end the performance on an uplifting note and therefore he had the rebels force their oppressors to retreat. Scott’s utilization of artistic license does the narrative justice because it inspires hope and creates an open-ended dialogue regarding contemporary forms of social engagement.

Artworks like On the Impossibility of Freedom in a Country Founded on Slavery and Genocide and Slave Rebellion Reenactment, re-present history by illuminating marginalized and underrepresented sociocultural events that we all should be aware of. Although it is undeniably a part of our history, the topic of slavery and its legacy is still a contentious subject among factions of the United States population. Some states and white authority figures have taken issue with acknowledging their predecessor’s roles in the slavery and genocide of African-Americans. Most recently, communities in the South were divided by the movement to remove monuments of Civil War era figures who were influential in the spreading of the Confederate agenda. In an effort to revise the heroic treatment bestowed upon racist and treasonous figures of the Confederacy, statues of Confederate leaders have been removed from public spaces. Opponents say that the removal of statues negates the cultural heritage of the South. The issue with that statement is that displaying the likeness of these figures reinforces ideals and practices of white supremacy. The Confederate monuments were realized in correlation with the Jim Crow laws (1877-1964), which were meant to intimidate and repress black citizens’ access to equal, equitable and social justice rights. The argument that removing these nefariously realized monuments would eradicate Southern culture is ethically devoid. As Eleanor Harvey, a senior curator at the Smithsonian American Art Museum specializing in Civil-War era culture states: “If white nationalists and Neo-Nazis are now claiming this as part of their heritage, they have essentially co-opted those images and those statues beyond any capacity to neutralize them again” (Brown, 2017).

What about the erasure of African-Americans whose contributions and narratives were never acknowledged? What about the fact that sacred land, such as their burial grounds, have been buried under concrete and steel elements of modern urban architecture? If celebrating Southern culture is of deep concern, then statues of Charles Deslondes, Gabriel Prosser or Nat Turner would be better options to be displayed in Southern parks, plazas and civic buildings, than the white Confederate generals who fought to uphold slavery and genocide.

The artistic interventions of Dread Scott are the history lessons we all need. Their beneficial impact is in the pedagogical framework of re-presenting history in a non-white and non-colonialist manner. We are granted with the experiences and voices of the oppressed and marginalized, which revokes the traditional practice of historical accounting in service of the victors. The artful visualization of the performers symbolizing the audacity and struggles of the rebel slaves, inspires empathy and understanding for those who were and are currently affected by racial injustice. Although the rebellions of Deslondes, Turner and Prosser were physically thwarted, the social and emotional impact of their actions could not be erased by white supremacy.

With a generation of students, such as those at Gotham Professional Arts Academy, who are learning to be acutely aware and actively attentive to important facts and issues surrounding racial and social justice, it is hopeful that near future societies will continue to foster empathetic solutions to whatever social problems arise. When that happens, the history books and lessons will reflect the valiance of the marginalized and the oppressed rebels, while admonishing the systemic oppression of racial, ethnic and religious groups that has been the status quo of American society since its colonial foundation.


References, Notes, Suggested Reading:

Alexander, Michelle. The New Jim Crow: Mass Incarceration in the Age of Colorblindness. New York: The New Press, 2010.

Barnes, Rhae Lynn. “America’s Largest Slave Revolt.” US History Scene, 10 Apr. 2015. ushistoryscene.com/article/german-coast-uprising/.

Brown, Rachel. “Why the U.S. Capitol Still Hosts Confederate Monuments,” news.nationalgeographic.com, 17 Aug. 2017. https://news.nationalgeographic.com/2017/08/charlottesville-confederate-memorials-civil-war-racism-history.

Laughland, Oliver. “First slavery, then a chemical plant and cancer deaths: one town’s brutal history,” The Guardian, 6 May 2019. https://www.theguardian.com/us-news/2019/may/06/cancertown-louisiana-reserve-history-slavery

Smith, Melissa. “Here’s How the Artist Dread Scott Pulled Off an Epic Reenactment of the Largest Slave Rebellion in American History,” artnetnews, 21 Nov. 2019. https://news.artnet.com/art-world/dread-scotts-epic-reenactment-rebellion-1700433?fbclid=IwAR19DLG6JwO-81nENl_VmXNRb7EbJUwJEJUxBoFoKthvB_s2vpwdAX5IaV4

The Fourth Grade Project

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Installation view of archival pigment prints from The Fourth Grade Project by Judy Gelles, in the exhibition Overlap: Life Tapestries on view at Pen + Brush, New York. Photograph by Adam Zucker

Students from around the world are the subjects and co-collaborators of an ongoing participatory artwork and educational experience titled The Fourth Grade Project. The project was initiated by Judy Gelles, a contemporary artist who works as a photographer. Gelles travels internationally to visit with students in their schools, and have a dialogue about their life experiences. The students are only a decade old but they have incredible insight about the world around them. Gelles photographs the students in rear perspective view, so that they remain anonymous. The final prints include verbatim text juxtaposed with each student’s portrait. The text tells their personal narratives, which were prompted by three questions: Who do you live with? What do you wish for? What do you worry about?

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Judy Gelles, Lived Closer: USA California Private School, archival pigment print. Photograph by Adam Zucker

The eloquent responses to these questions reflect the students’ sociocultural understandings. Each student has a unique perspective regarding how they see themselves in the scope of the human condition. While there is diversity in their responses due to the different geographical regions they represent, the stories they share signify several commonalities. They worry about themselves and their family; feel stressed about their performance in school and/or in social and athletic settings; and contemplate the future. They also express their aspirations for happiness and success. All children deserve to feel safe and valued in their schools, families and communities. The Fourth Grade Project makes it clear that this is not the case for all school aged children around the world. Too many students are worried about violence and sociocultural woes affecting them, their classmates and their families. An essential question for us to collectively address is how to bridge the social, cultural and economic gaps that create inequitable situations within society?

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Judy Gelles, Be Murdered, South Africa: Public School, archival pigment print. Photograph by Adam Zucker

The Fourth Grade Project is being utilized as a way for students across the globe to feel empowered expressing themselves and learning about one another. In doing so, they will make connections between their own stories and those of other students. Gelles is working with educators and administrators in Philadelphia to create a curriculum that can be implemented in schools throughout the world. What Gelles and the classroom teachers have noticed, is that giving students the agency to express themselves via the three aforementioned queries, benefits their participation and involvement in school. Students were struggling to make connections between their lives and the required reading, which impacted the development of their literary and writing skills. By making stories relatable to their social, emotional and cultural experiences, students were passionate about reading and writing. As a result of participating in the project, both quantitative and qualitative assessments of the students’ work supported their individual growth in English Language Arts (ELA). Furthermore, by reading the students’ stories, teachers and administrators gain significant insight into the myriad of social issues affecting their students. Due to overcrowded schools and large class sizes, it is often difficult for educators to spend enough time with each student to have dialogues about their lives outside of school. This project enables teachers to learn more about what personal concerns might be affecting a student’s performance in class. In addition to this dialogue being beneficial for educators to gain greater understandings about their students, classmates also gain insight into their peers’ innermost feelings. These compassionate responses build a more empathetic environment where everyone in the school works together and is supportive of each other’s physical and emotional space.

Understanding one another and being able to show empathy for what others are enduring is a major lesson that the arts can teach us (see: Exhibiting Empathy and Educating Through Art). Through social and emotional learning and reflections on personal and collective experiences, The Fourth Grade Project has the potential to help students grow academically and personally.

 

Mondo Museum: A Sim that encourages decolonization and experiential learning

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Screenshot from Mondo Museum. Courtesy of Viewport Games and Kitfox Games.

Imagination is one of our greatest and most humanizing characteristics, and playing games is beneficial for shaping our imaginative instincts. When I was growing up, I witnessed the evolution of video games from 8-bit side-scrolling forms of gameplay to expansive environments where players could explore the gaming environment at their own pace. This transformation also changed the narrative structure of games from typically binary themes (i.e. go through levels and beat the bad guys) to more player-centered experiences. Coming from a background where free-play and imagination were valued and rewarded, I enthusiastically gravitated towards the latter type of video games. Computer games like Sim City, Dino Park Tycoon, Sim Hospital and The Sims, are some of my all-time favorites, because they gave me agency to make creative, logical or absurd choices. There was flexibility in the gameplay that made me feel like I was truly responsible for the frame to frame progression of the game. Every action had a reaction and there were so many different ways a scenario could play out. I had my share of triumphs and disasters in each game.

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Screenshot from Mondo Museum. Courtesy of Viewport Games and Kitfox Games.

I haven’t played a video game in several years, but when I heard about the upcoming release of Mondo Museum (sometime in 2020), a museum themed management sim, I became very excited. This game combines both my adolescent and current interests and passions. A museum simulator is a curator and video game aficionado’s dream come true. There are several benefits to playing management sim video games, and they relate to many of the studio habits of mind that we learn via the arts. In order to be successful in the game, players need to brace themselves for ambiguity, be flexible in their actions and reactions to change, establish cross-disciplinary connections and make assessments as to what went well and how their process of play can be improved.  The game enables us to realize how consciously arranging cultural objects, which span time and place, provides historical and contemporary context. By researching objects from the collection (or on loan from another simulated institution) and curating them into gallery spaces, the player creates compelling narratives and gives their viewers ample opportunities to make cross-cultural and multi-disciplinary discoveries.

Mondo Museum’s gameplay is also intended to build empathy (another artistic habit of mind) because you see what others are going through as they move throughout your museum. The viewer experience inspires and influences the player to make equitable decisions that enhance their engagement with the museum. Furthermore, you advance in the game by curating exhibitions that make relevant connections between the museum objects and their aesthetic, cultural and historical context. For example, a player can gain ‘combo’ points by creating a thematic exhibition that displays works of art that address the topic from multiple cultural perspectives. Organizing shows thematically and showing the heterogeneity of sociocultural concepts, is one way that real-life museums are shifting the gaze from the Western Canon to a global and intersectional representation of culture.

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Screenshot from Mondo Museum. Courtesy of Viewport Games and Kitfox Games.

Mondo Museum supports the proper contextualization of culture through ethical cross-cultural partnerships with other museums. The provenance of works of art and artifacts are represented by the region and culture they were created in. You build your exhibitions by participating in a discourse with curators and directors from museums around the world, in order to gain knowledge about the intent and function the object had/has for the people who made it.

While the game is still in development, the idea of having the gameplay reflect contemporary issues around equitable access to museums and decolonization, is something that drives the game’s designer, Michel McBride-Charpentier. He intends for the game to address and raise awareness around a major issue affecting museums and cultural institutions throughout the world: the colonialist practices of collections acquisitions. In other words, major museums have established collections of cultural objects through unethical means like looting and nefariously brokered deals. McBride-Charpentier states, “the way that [museums] have built their collections in the West is mostly based on colonial looting…Instead of representing that, this game is showing a more utopian version of what museums should be like” (Jackson, 2019).

While Mondo Museum will present a stylized version of a museum, the ethical principles behind decolonization are very realistic goals that would behoove museums around the world to make right. Elisa Shoenberger writes, “the decolonizing project will have starts and stops as each museum, cultural worker and audiences have difficult conversations and reflections about the meaning of museums and who the institutions are intended to serve” (Shoenberger, 2019). One obvious way of decolonizing a museum, is to return the objects of historical importance to the contemporary cultures where they hold significance. There are so many examples of objects in museums that were acquired during colonial and imperial eras and have since been requested by the people in the region they originated from. Returning the objects to their cultures of origin (known as repatriation) would ensure that current and future generations have access to primary resources regarding their cultural heritage.

Another objective is to create a dialogue through partnerships with cultural organizations and individuals from nations that have their objects in foreign museums. In a recent post (see: Exhibiting Empathy), I describe how the Seattle Museum of Art is collaborating with African artists whose experience and background provide relevant insight about the works in the museum’s African art collection.  By having advisors who are a part of the society where the art is from, the museum ensures that the narrative is both properly presented and connected to the contemporary life of its originating place. Too often, works from African nations are presented in Western museums as ethnographic mementos, which ignores the fact that there is a continuity of the specific culture (the same can be said about art by North American, South American and Australian indigenous peoples).

Penn Museum in Philadelphia, has a renowned collection of art and artifacts from the Middle East dating back to 4,500 years ago. Although the museum states that 95 percent of their Middle Eastern collection “was excavated by Penn archaeologists” in partnership with local governments, it still raises issues about ethical acquisitions. Art critic Olivia Jia questions the idea of an ethical excavation, “given the fact that many of these excavations occurred against a backdrop of strife-ridden fallout from British colonial rule, and were co-sponsored by the British Museum” (Jia, 2019). Furthermore, the museum has presented their Middle Eastern objects through the lens of the archeologists, which gives Western narratives precedence over the stories that are intrinsic to the region where the artifacts and art objects were collected. To shift the narrative towards a more local and decolonized perspective, the museum established an innovative program called Global Guides, where they hire refugees from the Middle East as docents who lead visitors through thematic tours of the permanent collection. The docents provide unique insights and personal connections to the work. Analyzing exit surveys for the Global Guides program, Jia was amazed to discover that many participants never had an actual interpersonal connection with an individual from the Middle East until then. The presence of docents like Moumena Saradar, a Syrian refugee and only one of two Muslim staff members at the museum, has an empathetic impact on both visitors and museum staff (Jia, 2019).

Mondo Museum is only a simulated game, however its mission to reject colonial narratives reflects a very real issue that is at the forefront of artistic and institutional practices. Furthermore, Mondo Museum’s experience and equity driven platform is similar to the operational missions at brick and mortar institutions, where the viewer’s experience and participation are given elevated attention. Many museums no longer serve as ‘banking models’ (see: Freire, 2008) where visitors are presented with didactic displays of objects and text. Instead, they are being transformed into environments that enable viewers to curate their own experiences in dialogue with the museum’s collection and architectural space (Zucker, 2019).

Museum scholar and critic Seph Rodney explains that today’s museums are incorporating distinct factors that are in-line with visitor’s needs, such as “social interaction, spiritual sustenance, emotional connection, intellectual challenge, or consumerist indulgence” (Rodney, 2016). From the preview and demo of Mondo Museum, it appears that all of these elements will be integral to the management sim’s gameplay. These undertakings provide experiences that support experiential learning, collaboration, socialization and the democratization of cultural spaces. Museums that acknowledge their visitors’ unique personalities and treat them as participants, are likely to retain them. In Mondo Museum, that retainership leads to winning the game. It is McBride-Charpentier’s hope that players of the game will become more engaged and active participants at their local museums. He says “I would love it if people play this and then were inspired to go out to the real museums that might be nearby” (Jackson, 2019).


References, Notes, Suggested Reading:

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.

Jackson, Gita. “Upcoming Museum Sim Lets Players Combine Artifacts to Tell Cool Stories.” Kotaku, 11 Oct. 2019. https://kotaku.com/upcoming-museum-sim-lets-players-combine-artifacts-to-t-1838977490

Jia, Olivia. “Refugees Connect Their Personal Stories with a Museum’s Ancient Artifacts.” Hyperallergic, 19 Feb. 2019. https://hyperallergic.com/484835/global-guides-program-penn-museum/

Rodney, Seph. 2019. The Personalization of the Museum Visit, Abingdon: Routledge.

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/

Shoenberger, Elisa. “What does it mean to decolonize a museum?” MuseumNext, 7 Feb. 2019. https://www.museumnext.com/article/what-does-it-mean-to-decolonize-a-museum/

Zucker, Adam. “Summer Reading.” Artfully Learning, 10 June 2019. https://theartsandeducation.wordpress.com/2019/06/10/summer-reading-list-2/