Introduction: What Is Gallery Teaching? Facilitating Gallery Experiences by Olga Hubbard.
* This post is about a note after reading an article,"Introduction: What Is Gallery Teaching? Facilitating Gallery Experiences by Olga Hubbard."
The past century, with its institutional reimagining, has yielded rich ideas about the nature, meaning and interpretation of art. For example, in Art as Experience, John Dewey writes that a work of art is not a concrete object (a particular painting, sculpture, or building) but what this object does "with and within [human] experience".
In other words, for Dewey, art is what happens when people interact with artworks. Because gallery teachers are responsive beings in real time, they are uniquely positioned to measure the characteristics of a particular group on site and (at least to some extent) provide an ongoing experience where the viewer is present. Technically, gallery teachers are educators hired to work in museums, but school teachers, college professors, teaching artists, community educators, and others interested in facilitating experiences with works of art can also do—and sometimes do—gallery teachers. assume the role of Thus, although this book is linked to the field of art museum education, its contents are also relevant to gallery teachers in a broad sense, regardless of institutional affiliation.
From a practical point of view, it is worth making clear that contemporary museum education recognizes the importance of depth in the interaction of people with works of art.
Gallery teaching is a sophisticated endeavor, rooted on sound understandings about the complexities of art interpretation and its mediation. Among other issues, gallery teachers must entertain questions such as the following: What might facilitated interactions with works of art actually look like in the museum? What kinds of meaning making do different sorts of interactions promote? When groups of people respond to artworks collectively (as is common in so many museum programs), how might we honor the merit of multiple perspectives, while also helping ensure scrupulous interpretation? How might we negotiate divergences between the perspectives of visitors and those that surround the origin of artworks? How do embodied ways of knowing, including emotions and bodily sensations, factor into viewers’ responses to art?
Myungja Anna Koh