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My thesis explores the benefits that families with young children gain while learning from and through art in the art museum using story creation. Through the course of my research and reflection I have been able to better understand how young children make meaning out of art during a museum visit. This allows families and children to become more active in the museum learning experience and helps to develop important thinking skills. Some of the types of thinking skills developed are visual and critical thinking. The method I used to allow young children to access these skills is story creation, which is the act of a young child creating a narrative story about a work of art through verbal conversation and self created visual art work. Young children use their imaginations to think through the narratives that they see and begin thinking in new ways. I specifically look at the family learning experience, and how families can work together with museum educators to have enlightening, entertaining, and educational experiences during museum visits. To best understand my topic I used action research. I interned at two different art museums for a year and this allowed me to begin to understand the ways young children learn in museums, and how museum educators can best accommodate families with young children. One of the ways that I discuss using this type of approach to teaching in the art museum is through drop-in workshops. I aimed to discover what occurs when museum educators facilitate drop-in workshops that allow families to use story creation. Further, I look into what occurs when children interpret art on their own and make their own meaning, and the benefits that go along with this type of learning experience. I also aim to understand the best ways to facilitate this type of drop-in program in the museum. While my research specifically focuses on the drop-in workshop my research has allowed me to develop ideas about new ways to think about not only drop-ins, but classes, self guides, and other educational experiences that museums can provide families.
Families are a critical audience for art museums and museums use many different strategies for reaching families, such as special family days and festivals, workshops, special tours, family backpacks and gallery guides, in-gallery materials or demonstration carts, and specific family galleries. Here is a practical guide based on research that helps art museum educators understand the role and value of spaces designed for families and helps them to create dedicated spaces for intergenerational play and learning. This book features insights, best practices, and lessons learned from years of experience in creating dedicated spaces for families in a wide range of art museums. Through case studies, in-depth stories, and engaging graphics and images this book identifies key issues that museum professionals need to consider when developing family spaces in museums. This book is a how-to guide to creating or updating an interactive family space. Everything you need to know, soup to nuts, from understanding your audience to hiring a designer and opening your doors to the public is here. Each section is situated within groundbreaking visitor research findings and how museum educators have used those findings to better understand the family audience and develop fun, safe, inclusive, spaces that inspire wonder and curiosity, as well as places for meaning-making and family bonding, all in the service of creating loyal and committed museum visitors.
An evaluation of Solomon R. Guggenheim Museum's Kandinsky Family Activity Pack. Each pack contains interactive materials for families to use in conjuction with the Kandinsky exhibition (September 2009 - January 2010). The findings show that the pack allowed family members to interact with each other on many different levels, and that the sketchbook was the most popular activity.
2014 Outstanding Academic Title, Choice "What’s going on in this picture?" With this one question and a carefully chosen work of art, teachers can start their students down a path toward deeper learning and other skills now encouraged by the Common Core State Standards. The Visual Thinking Strategies (VTS) teaching method has been successfully implemented in schools, districts, and cultural institutions nationwide, including bilingual schools in California, West Orange Public Schools in New Jersey, and the San Francisco Museum of Modern Art. It provides for open-ended yet highly structured discussions of visual art, and significantly increases students’ critical thinking, language, and literacy skills along the way. Philip Yenawine, former education director of New York’s Museum of Modern Art and cocreator of the VTS curriculum, writes engagingly about his years of experience with elementary school students in the classroom. He reveals how VTS was developed and demonstrates how teachers are using art—as well as poems, primary documents, and other visual artifacts—to increase a variety of skills, including writing, listening, and speaking, across a range of subjects. The book shows how VTS can be easily and effectively integrated into elementary classroom lessons in just ten hours of a school year to create learner-centered environments where students at all levels are involved in rich, absorbing discussions.
Evaluating Early Learning in Museums presents developmentally appropriate and culturally relevant practices for engaging early learners and their families in informal arts settings. Written by early childhood education researchers and a museum practitioner, the book showcases what high-quality educational programs can offer young children and their families through the case study of a program at the High Museum of Art in Atlanta, Georgia. Providing strategies for building strong community partnerships and audience relationships, the authors also survey evaluation tools for early learning programs and offer strategies to help museums around the world to engage young children. At the center of this narrative is the seminal partnership that developed between researchers and museum educators during the evaluation of a program for toddlers. Illuminating key components of the partnership and the resulting evolution of family offerings at the museum, the book also draws parallels to current work being done at other museums in international contexts. Evaluating Early Learning in Museums illustrates how an interdisciplinary collaboration between researchers and practitioners can improve museum practices. As such, the book will be of interest to researchers and students engaged in the study of museums and early childhood, as well as to practitioners working in museums around the world.
What does a museum do with a kindergartner who walks through the door? The growth of interest in young children learning in museums has joined the national conversation on early childhood education. Written by Sharon Shaffer, the founding Executive Director of the innovative Smithsonian Early Enrichment Center, this is the first book for museum professionals as well as students offering guidance on planning programming for young children.This groundbreaking book:-Explains the various ways in which children learn-Shows how to use this knowledge to design effective programs using a variety of teaching models-Includes examples of successful programs, tested activities, and a set of best practices
Young Children and the Arts: Nurturing Imagination and Creativity examines the place of the arts in the experiences of young and very young children at home and in out-of-home settings at school and in the community. There is great need for development of resources in the arts specifically designed to introduce babies and toddlers to participatory experiences in the visual arts, dance, music, and storytelling/theater. This book presents valuable guidelines for early childhood teachers, families, caregivers and community organizations. Young Children and the Arts presents a comprehensive approach to the arts that is aligned with early childhood developmentally appropriate practice and that combines an exploratory, materials-based approach with an aesthetic-education approach for children from birth to eight years of age. It addresses both how the arts are foundational to learning, and how teachers and parents can nurture young children’s developing imagination and creativity. The models presented emphasize a participatory approach, introducing young children to the arts through activities that call for engagement, initiative and creative activity. Additionally, Young Children and the Arts addresses the intersection of early childhood education and the arts—at points of convergence, and at moments of tension. The role of families and communities in developing and promoting arts suffused experiences for and with young children are addressed. Young Children and the Arts examines the role of innovative arts policy in supporting a broad-based early arts program across the diverse settings in which young children and their families live, work, and learn.
As American art museums are experiencing a dramatic increase in attendance by families with very young children, ages 5 and under, it is urgent that museum educators consider how programming addresses the developmental realities of early childhood and the rights of families visiting with young children. In this study, I use action research to answer the following question: how do museum educators interpret the elements of meaningful learning for very young children (ages 0-5) in family programs at a major Midwestern encyclopedic art museum? My method centers on a play-based program for families with young children. I facilitated six sessions of this free drop-in program, attended by an average of 34 participants per four-hour session. Participants were local, regional, national, and international museum visitors. For the design of an emergent art curriculum, I enlisted the Reggio Emilia approach to early childhood education as a practical frame of reference, and a dynamic collection of theory that regards the rights of children and families as central to child development, and to education for social justice. The data I collected includes participant surveys, assistant interviews, narrative reflections, and photographic documentation. Systematic analysis of photographs provided themes that helped reveal meaningful features of play-work in the program: participants used many forms of communication to express their educational connection to the museum experience, including touch, gesture, looking, theatrical play, drawing, and constructing. Learning was found to be fundamentally collaborative and involved consistent, focused interaction between child and caregiver. The facilitator was enlisted a resource, primarily for overcoming struggles with the invitations and limitations of the program space. I conclude this study by reflecting on the intersections between the literature, my findings, and my personal practice to inform recommendations for continued research. I speculate that when museum educators invite the non-verbal, intimate communication forms that structure intra-family learning, and welcome the unpredictable paths of intellectual play-work, we support the developmental realities of very young children and uphold the rights of every individual to make meaningful use of the curriculum towards transformational learning. By enacting a pedagogy that privileges the educational power of the child-caregiver bond over the child-teacher relation, and by situating developmental theory and formal reflection practices at the heart of the curriculum, museum educators may also participate in building a theory of early childhood museum education that is perpetually renewed by self-reflexive collaboration with the learning practices of the very young.
Here is will be a practical guide based on deep research that helps art museum educators understand the role and value of spaces designed for families and helps them to create dedicated spaces for intergenerational play and learning.
A little boy visits an art museum for the first time in this fun, sweet picture book about first experiences and seeing things from new perspectives. Simon is having a great time at the museum with his parents. There are slippery, slidey floors! Pigeons flying around the reflecting pool! And cheesecake in the café! But they’re not really here for any of that. No, Simon has to look at art. And more art. So. Much. Art. There’s so much art that soon Simon needs to take a break and finds somewhere to sit. From his bench, he begins to notice how many different people are visiting the museum and the many different ways they react to the art they see. Some people are alone. Some are in groups. Some people smile. Some shake their heads. Some even shed a tear. And Simon is right in the center of it, watching until he’s inspired to give all the art another try. By the end of the day, he may even find a piece that can rival a slice of cheesecake!