What does Museum education mean to artists
The article I read , “How can games in museums enhance visitor experience? In the words of “By Lauren Styx,” it was conceived as “a destination to house and display collections of arts, crafts and cultural interest.”
Also, like Tim's experience as a museum intern in “Chapter 1 Museum Education and Museum Educators Anna Johnson,” I didn't know that most museums have educational offices, as he said. The museum in my perception and experience is as static as the numerous relics and paintings on display, and visitors have to walk past the exhibits as if they were shopping for children in order to read the small writing or view the vast amount of exhibits. Among the statements about museums and education introduced in the article, the following contents helped me break this static prejudice. An example of how museums use games to actively engage visitors, the UK's Science Museum is one such example, providing games and apps within the museum. Or you can see the museum theater working hard to maximize the visitor experience.
I especially like the introduction in “Introduction: What Is Gallery Teaching?” For example, in Art as Experience, John Dewey says that a work of art is not a specific object (a particular painting, sculpture or building) but that this object is “[ I agree that it is to be done with and in [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 deliver an ongoing experience where the viewer is present. 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. As in one of Brian Reverman's lectures introduced in Let's Talk About Art - building a visual arts vocabulary on YouTube, a work is not a flat surface, but a space that opens another dimension, and through this space, the artist and the viewer interact. Likewise, it made me rethink the concept of the museum as a channel through which visitors interact. Actually, when I was in Germany, there was a sketching corner in the museum. I learned to sketch in this corner. At that time, I felt rewarded because I could learn not only simple sketches, but also the history of painting and the biography of the artist. As the author of Chapter 1 above puts it, I realized how lucky I was to combine my love of history with the flexibility of education and a very creative process!
And this flexibility and interactivity invites participants to slow down, take a closer look, and explore the artwork with fresh eyes, as in the next article, Chapter 1 Three Kinds of Dialogue about Art. Through this passage, we realize that true museum education is not to make visitors walk in haste, but to quietly approach the artworks, examine them carefully, explore and interpret them. The meaning of the work embodies many theorized notions that it is not a fixed entity, so to speak, but something fluid, multi-layered and inexhaustible that continues to shape as each new viewer interacts with the work over time. This observed interaction is a broader concept that extends to a philosophy that helps build and maintain human relationships around the viewer. In other words, if we can educate visitors on the right interpretation of art, it can change that person's life, and furthermore, we realize once again that this changed individual has the power to change the community, the country, and even the whole world. Therefore, museum education is very important and is fundamental and essential in art education. In addition, the tips for interpretive conversations necessary to develop these insights and interaction power were introduced in detail in the article Chapter 2 The Structure of Open Dialogue, which was very helpful. Interpretive dialogue invites viewers to explore in depth the different directions of investigation that emerge through the dialogue, as each insight or discovery requires deep consideration. Interpretive conversations are multidimensional and each insight demands attention, so the process demands a long time on the task front. In other words, like a museum that compresses and unfolds a long time, museum education should be approached with a calmer mind rather than impatiently in order to slow down the pace and achieve short-term results all at once. And for this speed, we need to create a variety of programs to engage visitors in professional and open dialogue. This was helpful as it was well presented with various examples in Professional Development for Teachers Melissa Bingmann.
I was especially grateful that I could learn various introductions based on these theories and concepts through various YouTube channels introduced in Module 1 and Module 2. Above all, Museums should activate multiple senses, not just the eyeball | Ellen Lupton | What was introduced at TEDxMidAtlantic was impressive. She describes the museum as a sensory experience. I was impressed by her design of the museum's moving routes, especially designed for the low vision and blind. This design was eventually applied to public transportation by a British designer and developed into a signal line for the floor that sounds an alarm to people walking by looking at their cell phones. Designs studied by expanding these five senses are actually effectively applied to real life. The lecturer insists that the museum should be a place where you can stimulate, use, touch, and approach the five senses as much as possible, rather than a boring place to look around quietly. With these claims, we hope this is what the museums of the future will look like. In other words, it is not a traditional concept of displaying products in a showcase, but rather an open space where you can interact with the audience like a play and share your own experiences and understandings rather than yes/no. Therefore, the part of education in the museum will become more and more important, and based on this, it is expected that more types of occupations will be created. Above all, there will be more and more opportunities to create contents and program them according to the needs and responses of the audience, and through this, to educate and interact with the local community and schools. Considering this trend and importance as an artist, it is constructive for future education to actively collaborate with local museums and develop ideas for them, rather than simply sitting in a studio painting and teaching students in the surrounding community. I got an important hint called how. Thank you for giving me the opportunity to realize the importance of museums, take interest in them, break the static frame of thought, and view museum education with various perspectives and expertise.
Myungja Anna Koh