Ways to get students involved in art1. The most effective way for students to participate in art is through a museum tour. But how likely are people who have visited the museum once to visit it again? Even in my experience, I don't think there are many unless you love the museum too much. Because of this, the biggest focus can be seen as how to provide the maximum effective experience in a one-time visit. With this in mind, as we read Chapter 3, Interrogating the Thematic Approach, argues, “if time permits, it is possible and productive to promote open and thematic dialogue about the same work, even within the same session.” In other words, rather than conveying tedious theories about chronology, geography, genre, art history, etc. to first-time visitors and lacking prior knowledge, it is to identify the reaction to the artwork based on the experiences that visitors bring to the museum and organize the program accordingly. An open dialogue begins with respect for the other person's experience and opinions. Through this chapter, I learned that calmly listening to each student's personal experience and background from the student's eye level and starting a respectful and open dialogue creates an atmosphere in which students can actively and authentically participate in the work of art for themselves. This may seem obvious, but as a practice that must be followed, it can be seen as a keyword that helps to interpret and analyze works in a more professional and detailed area by leading topical conversations in an open dialogue. 2. Then, I thought about what elements and aspects to focus on when students participate in the work through open dialogue. Chapter 4 (What Counts as a Theme In Art Museum Education), which I read about the topics of art and education that make this open dialogue possible, is well organized into four elements. In other words, the author, Olga Hubard, presented these three-dimensional themes by dividing them into literary meaning, musical meaning, modernism meaning, and aspects of the creative process. She writes, “The themes that museum educators choose inevitably shape the way individual museum objects come to life as audiences interact with them.” As suggested here, I think museum educators should be more aware of the importance of theme selection. In other words, in order to become a living, interactive museum education, it means that these themes for each subject must be well selected and educated. The more thoughtful we are in choosing our subjects, the more important our students' experiences with art will be. And Chapter 5 of Facilitating Interpretive Dialogues- Some Concrete Suggestions in the book that follows is helpful, with specific suggestions to help foster open conversations through thoughtful topics. I learned from this chapter, in particular, that it is very important to get to know the work first, and to do this, you must closely observe the work for a long time. You should also prepare open-ended questions and prompts in advance, and use conditional language when asking questions that invite interpretation or guesswork. When writing questions, it's also a good idea to anticipate how your audience will react. The most important thing is to listen. Listening “carefully” will be at the heart of the conversation facilitator's job. The way you listen communicates to your viewers that you care about what they have to say, and knowing this will encourage them to form and share ideas. The method of listening is also presented in detail. Allowing for silence, paying attention to body language, and so on. 3. Lastly, I thought about how students can more actively and voluntarily participate in art works through articles and videos. In particular, “Art Explainer 1: The Power to Look The Art Institute of Chicago” helped me redefine my philosophy of museum education and gave me ideas on how to engage students in a more interesting way. To appreciate an artist's work is to understand how we see it. It is true appreciation to understand the intention and meaning of the artist's work and reflect on the artist's view of us who understands it and the viewer's view of themselves through this understanding. In this sense, I was intrigued by the crown of the Yorba tribe in Africa. In other words, it is important to show a splendid and overwhelming appearance in terms of decoration and authority, but this tribal crown looks somehow familiar. Small birds are sitting huddled in a long conical shape. However, even in this, there are many incantations and symbolic meanings such as the will to rule the people well, the symbol of one's royal authority, and the barem for abundance. It is the same throughout the work. As an artist, when I draw, I also put my intentions in like a hidden QR code. The intention is like the crown of the Yorba tribe, in the hope that the viewer will be rich, happy, and comforted by escaping from the worries of the world for a while. Sometimes, like Cindy Sherman, she puts her own messages and philosophies into the paintings depending on the social and political situation at the time. They read these messages, look at them from their own experiences and perspectives, reinterpret them, and interact with the author. This is true museum education. In other words, it teaches you how to look at and reinterpret from your own experience and point of view, and interact with the author. Here, as in the two examples above, it is to teach each other how to discuss the intentions like QR codes hidden in the work and to get closer to the intention of the artist. To this end, I think it is the role of museum educators to provide information such as symbols, metaphors, historical backgrounds, and personal history that each QR code means by synthesizing questions leaked from open conversations.
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My healing stone, Dragon Eye.Thomas Maeder (1989) has extensively studied children of psychologists and psychiatrists. He observed that many of these people became artists as adults and wondered, "Why should so many people get into art?" (p. 259). We too have pondered this question, theorizing the role of the artist as a kind of shamanic calling to provide different types of healing through perception, reflection and creation. “Can’t today’s artists and writers fill the void left by the shaman?” (Jones, 2007, p. 2). I, too, have thought of my work as a kind of shaman. It is fate that I draw, and if I do not draw, I feel like there is a second me that leads me to something, so I draw like a kind of attraction. This attraction is a kind of shamanic invocation that offers different types of healing through perception, reflection, and creation, as written above. I decided to make a kind of stone art of rune stone with this meaning. First, I dye a plain, patterned round egg-shaped stone I picked up on the beach with blue ink. Then trace the shape inside the stone with a gold marker. At this time, I followed the rune that came out of nature itself and drew it as if meditating with the idea of expressing it on the surface. This work was serious, it calms the mind, and it is done as if having a conversation with the inanimate stone. As I worked, I paid attention to the signs made by stones and paths like tree rings. It's like a dinosaur egg that became a fossil, and it's like a life that is trying to stop cell division . I put 24K gold leaf paper on it to give it more accent as an accessory. Then, a thin layer of resin was applied to make it shine like a sapphire jewel. The finished stone shines as beautifully as a real gem. Falling in Resin with My Miniature Artwork!I got the idea of making my own jewelry from an article I read, “The Swing of the Pendulum (The Urgency of Arts Education for Healing, Learning, and Wholeness by Diane Caracciolo and Courtney Lee Weida (Eds.)”). "Turn a broken heart into art" “Perhaps art is always a kind of memorial that allows us to capture moments of contemplation and hope. Art mediates suffering and death, reminding us of the richness of life's gifts.” “Art provides a space to reflect and express the meaning of our own lives. Education encourages us to redefine ourselves and our work while curating and sharing experiences with other individuals like gifts.” I was able to find the above key keywords in the article that will help me in my work. I have been painting for a long time and have actually experienced the process of turning a broken heart into art. Through painting, I learned to see the world, discover myself, and live harmoniously in this world. Painting is like a universe to me, a teacher, a mother, and a close friend. These paintings are like a gift to me, sometimes in the form of a talent, sometimes the result of many years of perseverance and hard work. Through painting, I communicate with people, share my talents, and grow every day. Painting gives me space to reflect and express meaning in my own life. Regardless of whether this space gets smaller or larger, painting is a universe to me. While reading this article, I felt the urge to make a pendant and wear it as a necklace. This may be a good type of business card that you can show off on the spot when sometimes you can't afford to show someone a picture. I wanted to make these pendants more wearable, hard and fancy. So what came to my mind was resin. Resin art is hardening when resin is applied in a liquid state, applying hardening over time to color the resin, or inserting various small items into liquid resin and hardening it into various shapes to make crafts. It is good to apply to small items such as jewelry. First, draw a miniature picture to put in the resin. For this painting, I cut small pieces of canvas paper and paint them with acrylics. You have to work with precision with a small brush. Then sprinkle some glitter paper over it. This will give it a more fancy look when the resin hardens. It is an added splendor that suits the purpose of the ornament. This work is very small and I attached it one by one with a toothpick. Then, in my case, mix non-toxic art resin and hardener in a ratio of 1 to 1. For the resin frame, I used the plastic frame of the box my child received as a gift. I put a small drawing here and poured resin. (The resin mixing cup is easy to measure using a potion syrup cup.) Then leave in a well-ventilated room to dry for 72 hours. I was more concerned about waiting for this resin than making it. Because if I fail once, I don't have enough time to try again. But despite my concerns, the resin dried nicely. Student's artworks by Sophia and VictoriaEvery year, many children around the world participate in an art contest to save the frogs. My students also drew pictures with this theme. Below is information about that contest. Art contests like these are valuable as they not only promote environmental awareness but also provide a platform for children to engage with important issues through art, fostering a sense of responsibility and care for the natural world. If your students have created pictures for the contest, it can be an excellent opportunity for them to learn about environmental issues and make a positive impact through their artistic expression. I encourage you and your students to participate actively in such initiatives, as they play a crucial role in spreading awareness and advocating for the conservation of vulnerable species like frogs. Beyond Van Gogh in Long island.I went to the digital museum where you can reinterpret Van Gogh's works in three dimensions using the weekend. This was a museum built as a temporary burial in the mall. There were few people in the mall because many of the shops were closed, and only the Van Gogh store had people coming and going. This exhibition is quite expensive. I watched it at the price discounted by 40% with the Fourth of July discount, but I feel that it is expensive to watch at the original price. When you enter the entrance, you will see a warning that you cannot come out and re-enter. At the initial entrance, a digital screen on which you can see Van Gogh's biography in the form of letters written by him stands like a folding screen. After passing this place, there is a large hall where the digital show is held. This show is worth watching. A splendid show unfolds that gives the impression of walking, sitting, and getting close to Van Gogh's work. You can see these delicate brush strokes magnified on a large screen. Exhibitions like this aim to offer a unique and captivating experience for art enthusiasts and fans of Van Gogh's work. They combine technology, storytelling, and artistic elements to provide visitors with a new perspective on the artist and his creations.
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