This paper is based on a study of museum visitors’ experience of paintings: in particular, the experience of adult non-art specialists. Phenomenology, a form of inquiry that seeks to articulate lived experience, provided the philosophical and methodological framework for the study. Descriptions and themes relating to the experience of paintings were generated from interviews conducted with eight participants. These themes were categorized into two major areas: the articulated aspects and the non-articulated aspects. The former refers to aspects that (...) people can articulate when they describe their experience. For example, they talk about the formal qualities of paintings, related textual information, and the museum environment. The latter refers to aspects that people cannot articulate. For example, they have difficulty in expressing their feelings, their relationship with time, and an understanding of the role of the body. This paper focuses on the aspects that museum visitors cannot articulate when they describe their experience. This inarticulateness provides insights into certain overlooked features of the experience: the embodied nature of the experience, the way time is experienced, and the viewer’s feelings about paintings. The paper ends with a discussion of the implications of the study for art educators. It is suggested that teachers should prepare students in ways that will enable them to make use of their various cognitive, social and cultural frameworks in experiencing works of art. (shrink)

In recent years, the contribution of various disciplines and professionals (i.e. from marketing, computer science, psychology and pedagogy) to museum management has encouraged the development of a new conception of museology. Specifically, psychology has affected the overall conception of museum and the visitors towards a more holistic vision of the museum experience as a complexity of memory, personal drives, group identity, meaning-making process, as well as leisure preferences. In this regard, psychological research contributes to advance the (...) scientific knowledge about psychological and social phenomena related to the visitor experience, as well as to design innovative technologies and future tourism services. The present contribution discusses the Socio-Cultural Activity Theory as a theoretical framework to conceptualize the museum visit as an activity mediated by the technology, and to better identify the factors shaping the interaction between the visitors and the technologies. To do so, a case study is presented: a qualitative research performed at the Ara Pacis Museum in Rome (Italy) to analyze the visitor experience of a tour that integrates augmented and virtual reality. Information derived from applying Activity Theory on visitors’ experience highlight the value of technology as mediating tool between the museum mission and the visitor experience, considering the interaction between visitors’ characteristics, museum environmental dimensions and technology’s features. (shrink)

ABSTRACT Recent reflection on the role of museums and galleries has focused on their socially situated nature; and that as a social construct, co-produced with its audiences, heritage is in part discursively constituted. This has included acknowledgement that the inherited discourse is hegemonic and exclusive of divergent narratives, leading to moves to create alternatives to contest it, which include temporary exhibitions. These provide a potentially democratic space for discursive incursions freed from the constraints of the permanent museum. But they (...) are also spatially and temporally peripheral, occupying a discursive space outside the standard visit. This raises questions as to whether, once the exhibition is over, the alternative will be subsumed once more. This article explores this issue using a dataset of TripAdvisor reviews to analyse the discursive responses of visitors to temporary and permanent collections, using the Musée d’Orsay's 2019 exhibition Le Modèle Noir as a case study. Analysis shows that Le Modèle Noir reviews exhibit greater discursive fragmentation, reveal a relative lack of appeals to collective identity, and do not connect the exhibition with the permanent collection. Potential implications of this for initiatives that seek to counter the hegemonic narrative are discussed. (shrink)

Public education in museums has the interdisciplinary nature of STEAM education contemporary learning. In the contemporary learning process of the public, digital museums can rely on mobile terminals to provide people with opportunities for mobile learning. Especially since the global outbreak of COVID-19, many offline museums have been forced to close their doors or impose restrictions. How to use digital museums to better carry out the learning experience of visitors is a problem worthy of attention. Effective dissemination of visual (...) information can help digital museums conduct educational activities more efficiently. The purpose of this study was to explore a research method for visual evaluation of visitors’ learning experiences in digital museums. The visual evaluation of visitors in the digital museum learning experience involves the layout of exhibition content, the form of exhibition space, and the way of display of exhibits. Through eye-tracking engineering experiments, we obtain and analyze the visual data of visitors during the educational experience of the digital museum to form an accurate evaluation. This method can be used to assess the visual satisfaction of visitors with the educational experience of a digital museum in mobile learning. This kind of evaluation research can provide strong data support and design optimization direction guidance for the development of digital museum public education. (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement (...) to make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

"Time and the Museum: Literature, Phenomenology, and the Production of Radical Temporality, is the first explicit in-depth study of the nature of museum temporality. It argues as its departure point that the way in which museums have hitherto been understood as temporal in the scholarship - as spaces of death, othering, memory and history - is too simplistic, and has resulted in museum temporality being reduced to a strange heterotopia (Foucault) - something peculiar, and thus black boxed. (...) However, to understand the ways in which museum temporalities and timescapes are produced, and the consequences that these have upon display and visitor response, is crucial, because time is itself a political entity, with ethical consequence. Time and the Museum highlights something we all experience in some way - time - as a key ethical and political feature of the museum space. Utilizing the fields of literature and phenomenology, the book examines how time is experienced and performed in the public areas of three museum spaces within Oxford - the Ashmolean, Pitt Rivers, and Oxford University Museum of Natural History. Using concepts such as shape, structure, form, presence, absence, authenticity and aura, the book argues for a reconsideration of museum time as something with radical potential and political weight. It will appeal to academics and post"--. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Main Street as Art Museum:Metaphor and Teaching StrategiesElizabeth (Beau) Vallance (bio)In truth, walking down Main Street in many American small towns today is rather like walking through an art museum whose walls have mysterious gaps where paintings have been removed for cleaning. Maybe more accurately, walking down Main Street can be rather like walking through the Isabella Stewart Gardner Museum in Boston after a Vermeer, two (...) Rembrandts, and eleven other artworks were stolen in 1990: since the Gardner's charter does not allow it to rearrange its holdings, the resulting gaps remained with only explanatory notes in their too-large spaces on my last visit there. A town I know well has a disturbing number of empty storefronts, identified with only the faint outlines of their former names, their windows holding explanatory notes in the form of signs proclaiming that they are for sale or rent. Thanks to Wal-Mart and other big-box stores thriving in a distinctly nonpedestrian strip north of town, the commerce that once thrived on Main Street has died or been removed to new locations, and the once-lively street-level shop windows that testified to downtown liveliness for foot traffic are now empty, awaiting new life as, very likely, antique shops or restaurants.But in principle, a walk down Main Street can be very much like a stroll through a museum gallery—visually rich, inviting unexpected choices, aesthetically rewarding. This article explores the concept of shop windows as visually ordered compositions much like paintings and other art objects and suggests some approaches to applying this concept in teaching a range of subjects and styles of art in both classrooms and actual museums. For the purposes of argument, we will assume that our mythical Main Street is alive [End Page 25] with businesses of many kinds, with the old-fashioned windows open to the street that allow us to "window shop" for many blocks. Some of my examples are drawn from the very enjoyable experience they still offer, of wandering from image to image, commenting as we go.Museum Visitors as Window-ShoppersConsider the behavior of the average museum visitor, a composite characterization drawn from my years as a museum educator and augmented by a few statistics on how people comport themselves in museums and other public places. The behavior of visitors in art museums is an especially clear case of how people observe deliberate compositions, for in art museums objects are typically arranged fairly sparely, with minimal crowding of the objects themselves, small labels that may or may not explain much about the painting or sculpture or silver tureen, good lighting, and a fairly hushed atmosphere, unless a crowd has gathered for a family festival or a major exhibition.Generally, people come to museums in pairs or small groups and not necessarily with a clear plan beyond perhaps seeing a particular favorite work of art or generally catching the highlights of the collection. Their purpose may be social as much as specifically educational, and those who come with companions tend to chat a bit as they walk through the collection. Generally, other things being equal, they turn to the right on entering the building.1 After that, however, visitors become unpredictable, and they meander among the objects in ways the museum cannot control unless visitors are following a live tour guide or a printed self-guiding tour that recommends stopping at selected objects in a predetermined order. Visitors may move to a large object located in the center of the gallery (such as a medieval suit of armor, an Egyptian mummy case, or an enormous painting on a freestanding wall partition), or to a case filled with many small precious-looking objects (such as pre-Columbian gold jewelry from Peru, or the tiny bass sculptures that are gold weights from the Ashanti culture in Ghana). They may be drawn to something in a familiar style, such as a large Impressionist painting or a Rembrandt-looking portrait. They may gravitate to a favorite object in the collection, or they may be attracted by a new acquisition or a work recently installed after many years in storage. At all these stops, they... (shrink)

In Black Museum, a young woman is out to take revenge on the man who imprisoned her father's digital self in a museum exhibit that allows sadistic visitors to reenact his execution. While the exhibit is morally detestable and some may think that the museum's curator gets what he deserves in the end, the woman's act of vengeance is morally disturbing. This chapter explores Martha Nussbaum's account of anger and forgiveness and considers Christian and Buddhist teachings. (...) An argument by David Kyle Johnson for the moral permissibility of revenge under certain circumstances is considered and rejected. The authors conclude that the act of revenge in Black Museum is not morally justified. (shrink)

Museums are essential for improving cultural understanding and instruction. Exhibitions showcasing ethnic cultures provide insightful perspectives on many cultures and civilizations. These educational opportunities can be made as effective as possible by assessing their influence on visitor satisfaction.Investigation into the impact of ethnic culture exhibitions on audience pleasure, participation, and comprehension is lacking, despite their significance. By investigating how these displays affect visitors' knowledge acquisition and participation, the study seeks to close this disparity.Utilizing a combined methods technique that integrated (...) quantitative surveys with qualitative comments, the study polled 62 museum visitors who had attended ethnic cultural exhibitions. The questionnaire evaluated knowledge of culture, instructional impact, involvement, and tourist pleasure. Data analysis using the SPSS software was utilized to analyze how different factors affect results and find significant indicators by doing logistic and multinomial logistic regression. This study discovered a substantial correlation between improved knowledge of culture and exhibition participation, as well as a significant improvement in visitor satisfaction and educational results when interactive components and cultural content are included. Through the use of interactive material, ethnic culture exhibitions improve the educational experience and increase visitor happiness. Museums ought to take demographic factors into account while planning different exhibitions for the future. (shrink)

The subject of the article, which is based on the concept and practical methodology of using the space of the museum exposition as an educational one, is the activities of the Moscow Memorial Museum "Losev's House". Particular attention is paid to the analysis of such educational resources of a new type offered by the Losev House as the Scientific Library, Online Lecture and Study Day at the Museum; within the framework of each of these forms, its general (...) educational potential and advantages are analyzed in comparison with the traditional forms of teaching philosophy within the walls of an educational institution of a conventional type. Based on the results of the study, fundamentally new opportunities for increasing the effectiveness of philosophical education through the active formation of the educational motivation of a museum visitor or a learning individual through immersion and interactive interaction are identified and analyzed. In conclusion, an assessment is made of the educational activities of the "Losev's House" within the framework of the general socio-cultural genesis of the domestic society, its actual opposition to the multiple tendencies of cultural primitivization. The article concludes that, having a pronounced discursive character, philosophy, being presented in the educational space of the Losev House Museum, receives additional original opportunities for deploying this discourse. Represented in the educational space of the museum, philosophy, as an established system, from its content side, acts as a harmony and balance of its own objective and subjective aspects. A full-fledged philosophical education cannot be limited only to educational practices, it is necessary to include the upbringing of the culture inherent in philosophy and independence of thought. In the era of modern information culture, which implies the possibility of providing quick access to any necessary information, the emphasis in the learning process is shifting from the previous forms of its direct transmission to the formation of appropriate learning motivation, immersiveness and interactivity of new forms of learning provided by the educational space of the Losev House Museum. (shrink)

This article analyzes the changing politics of hands-on display at the New York Museum of Science and Industry by following its urban deambulation within Midtown Manhattan, which went hand in hand with sharp shifts in promoters, narrative, and exhibition techniques. The museum was inaugurated in 1927 as the Museum of the Peaceful Arts on the 7th and 8th floors of the Scientific American Building. It changed its name in 1930 to the New York Museum of Science (...) and Industry while on the 4th floor of the Daily News Building, and it was close to being renamed the Science Center when it finally moved in 1936 to the ground floor of the Rockefeller Center. The analysis of how the political agenda of the different promoters of the New York Museum of Science and Industry was spatially and performatively inscribed in each of its sites suggests that the 1930s boom of visitor-operated exhibits had nothing to do with an Exploratorium-like rhetoric of democratic empowerment. The social paternalistic ideology of the vocational education movement, the ideas on innovation of the early sociology of invention, and the corporate behavioral approach to mass communications are more suitable contexts in which to understand the changing politics of hands-on display in interwar American museums of science and industry. (shrink)

The article is an overview of the growth of an interest in painting, from the mid-sixteenth to the mid-nineteenth century, among a public not much involved in either the production or purchase of works of art. For the earlier period the main evidence is provided by guidebooks and other publications of a more general type, especially in Italy, which often incorporated the names of leading artists, but seldom provided information about their careers or where their works could be seen. This (...) situation only began to change in a significant way in the second half of the seventeenth century. From that time onwards a new type of publication appeared, that is to say catalogues of major collections of paintings usually open to members of the public. This development was particularly evident in Germany and later in Austria. Such publications rarely included much historical or chronological information about the artists themselves, and the collections were only rarely arranged on geographical or chronological lines, a practice at first mainly confined to early paintings which previously had rarely been displayed at all. A more didactic and historical approach to display and to the compilation of museum catalogues only emerged from around 1850, after Frédéric Villot, curator of paintings at the Louvre, created the model for a new type of catalogue intended both as a contribution to art-historical knowledge and as a source of information for visitors. (shrink)

Home museums in Israel and Germany produce a representational space in which the public figure, usually a ‘great man,’ is effectively ‘dragged home’ to the so-called private sphere so as to make the domestic worthy of musealization. Based on three years of ethnographic research in nine such museums, this article shows that when the sphere most identified with women is represented through the life and work of the men who lived there, the place of the wife and children is sidelined, (...) belittled, and at times concealed. In representing famous persons through material space and objects in the private abode, museal techniques determine which specific domestic areas, such as the kitchen and the bedroom, become the prime location of telling stories about women who lived in the house. They provide a shared perspective for visitors who find the stories about the wives endearing, recognizing home through them. (shrink)

This chapter is written from the perspective of a practitioner and explores a range of paradoxes in museums and in the museological literature which may serve as starting points for conversations with philosophers. These include questions of definition and mission, intrinsic versus instrumental value, whether museums actively shape society or serve as a passive reflection, whether their main function is to produce liberating knowledge or express communal identities, whether traditional or progressive museums are the most ‘traditional’, whether museums are trying (...) to serve idealized or real visitors and, ultimately, whether museums are rational or ritual institutions. (shrink)

The connection is made between the Royal Museum of Scotland and encyclopaedia, one of MacIntyre's three rival versions of moral enquiry. It is then asked how MacIntyre's other two methods, genealogy and tradition‐constituted enquiry, would function within a museum. It is proposed that the museum fulfils Haldane's criterion for tradition‐constituted enquiry in that it combines the immanence and open‐endedness of the methods of enquiry with transcendence in the objects of enquiry. The ethical judgments of the visitors (...) constitute transcendent truth in morality; hence one can see the museum as a site of Aristotelian enquiry. -/- To pursue this, the museum is explored as a site of Aristotelian study or theoria, and of MacIntyre's updated Aristotelianism. Therein we study the narratives written by historians and by individuals in a version of Aristotelian epagogê, or the sifting of the opinions of the many and the wise. This process may also enhance civic friendship and our exercise of practical wisdom towards disadvantaged groups. -/- Finally, MacIntyre's three rival versions of moral enquiry are returned to, and a museum characterised for each. All three are found to involve seriousness in the purposes of enquiry. Attention is drawn to MacIntyre's criticism of the interaction of bureaucracy and social science. It is proposed that such interaction may, in the case of the museum, dilute its seriousness as a site of enquiry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museum Education and the Project of Interpretation in the Twenty-First CenturyRika Burnham and Elliott Kai-KeeThis is what we shall look for as we move: freedom developed by human beings who have acted to make a space for themselves in the presence of others, human beings become "challengers" ready for alternatives, alternatives that include caring and community. And we shall seek, as we go, implications for emancipatory education conducted (...) by and for those willing to take responsibility for themselves and for each other. We want to discover how to open spaces for persons in their plurality, spaces where they can become different, where they can grow.—Maxine Greene, The Dialectic of Freedom, 56In the art museum of the future, we walk into a gallery in which the hum of conversation fills the space. A small group of visitors clusters around a single work of art, exchanging their observations, led quietly in their conversation by a museum educator. The group has gathered for a program in which visitors are invited into a dialogue with the educator, with each other, and above all, with the artwork. As this group's conversation concludes, other groups will take their place, attending to different works of art, unfolding them in different ways.We share with David Carrier a vision of the future museum rooted in the Enlightenment dream of a sphere of conversation accessible to all citizens, a public museum space "devoted to a genuinely democratic talk about visual art." In such a museum the galleries are not primarily considered places where art historical information is transferred. They are instead redefined as places where conversation takes place around works of art and where the project of interpretation is constantly enacted.The educators who are responsible for these conversations have a central place in the future museum. Once charged with translating curatorial interpretations to the public, educators are now charged with including everyone [End Page 11] in the translation of the artworks. Knowledgeable in the collections and experienced with audiences, they bring people and works of art together for appreciation and exploration. Engaged in the exchange of thoughts and observations about artworks, carried into the back-and-forth flow of discussion about the artworks, visitors translate impressions into conjectures, and, ideally, understanding and interpretation.Visitors come to the museum to learn about art through gallery conversations during which they actively take part in a form of interpretive play that animates, and in a sense performs, works of art as visitors look at them and talk about them. When the play is successful, it is full of energy and passion. The museum galleries become active places where ideas are freely exchanged, where hermeneutic improvisation and experimentation are encouraged and valued.The constantly recurring play of art makes the museum a place of interpretive freedom, open to many viewpoints and the possibility of multiple interpretations. Educator and visitor both realize that understandings of works of art are never complete. They know that every conversation opens the artworks to the possibility of new meanings and new interpretations.In the museum of the future, the mission of offering visitors such special experiences is not distinct from the museum's traditional charge of caring for the objects in its collections. For it is only when visitors attend to the works of art, and interpret them, that the artworks come alive. As John Dewey said almost a century ago, the work of art comes alive in the viewer's experience. Visitors, educators, and curators share in the endeavor of making sense of works of art, each taking their own part in the process of bringing them to life with their scrutiny, and keeping them alive as they interpret and reinterpret them.The deepest and most affecting experiences visitors have in art museums are those in which they share in the unfolding, unraveling, and translation of the meaning of artworks. In the museum of the future, everyone is invited into such conversations. Everyone understands that they are important participants in the lives of the objects displayed there, as they take part in the play of interpretation that dances around them.Museums are first and foremost for people; they are... (shrink)

Museums’ structures, spaces, and exhibits are understood as semiotic resources that make spatial texts that communicate a discourse defined by the authorities of the museum or its curators. The current study follows a social-semiotic approach in analyzing the spatial discourse of the Children’s Museum in Amman. It demonstrates that interpersonal meanings are semiotically communicated to children visitors in the Museum by firstly establishing a “comfort-zone” and secondly by aligning children visitors into groups with shared qualities, (...) attitudes, and dispositions of affiliation and solidarity, and thirdly by providing abstract and material representations of the real world that encompasses participants, processes, events, and places. These interpersonal meanings produce a pedagogical discourse that semiotically addresses Jordan’s energy and water challenges, and that can “charge” the Museum’s role as a “Bonding Icon” that stands for shared communal ideals that Jordanians might identify with, or rally around. (shrink)

This article aims to analyse one specific type of memorial site that furnishes an indexical link to past traumatic events which took place in precisely these places. Such memorials will be defined here as trauma sites. It will be shown how the semiotic trait of indexicality produces unique meaning effects, forcing a reframing of the issue of representation, with all its aesthetic and ethical dimensions. In contrast to other forms of memorial site, trauma sites exist factually as material testimonies of (...) the violence and horror that took place there. The fact they still exist, more or less as they were, implies a precise choice on the part of post-conflict societies regarding which traces of the past ought to be preserved and in which ways. In other words, a decision is made about what politics of memory to adopt in each case. Trauma sites thus become unique, privileged observatories that allow us to understand better the emergence of post-conflict societies. The various forms of conservation, transformation, memorialization of places where slaughter, torture and horror have been carried out are key clues to better understandings of the relationship between memory and history in each post-conflict society studied. This article presents a close reading of three very different trauma sites: the Tuol Sleng Museum of the Crimes of Genocide in Phnom Penh, Cambodia; Villa Grimaldi in Santiago, Chile; and a third, more recent, museum: The Ustica Memorial Museum (Museo per la Memoria di Ustica) in Bologna, Italy. These memorials represent instances of three very different traumatic memory politics: in Tuol Sleng, visitors are relocated in the trauma space, in a sort of ‘frozen past’; in Villa Grimaldi, a process of attenuation is at work, the traces of the past are less evident, and their emotional effects weaker. The Ustica Museum represents yet another option, a movement towards an artistic and creative reinterpretation of the traumatic event itself. (shrink)

This survey outlines a history of museums written through biographies of objects in their collections. First, the mechanics of the movement of things and the accompanying shifts in status are considered, from manufacture or growth through collecting and exchange to the museum. Objects gathered meanings through associations with people they encountered on their way to the collection, thus linking the history of museums to broader scientific and civic cultures. Next, the essay addresses the use of items once they joined (...) a collection, whether classificatory, analytical, or in display. By thus embedding the study of scientific practice in material culture, this approach contributes to constructivist histories of science. The final section addresses the role of objects in the experience of the visitors, emphasizing how fruitful the history of museum objects can be in the study of the public engagement with science. (shrink)

This research was undertaken to explore audience members learning ethics from two national museum exhibitions: The Return of Sherlock Holmes (RSH) and Human Body Exploration (HBE) in Taiwan. Based on literature review of ethics for museums, there are four dimensions related to exhibition ethics: environment, marketing, education, and services. Therefore, the purpose of this research was to examine the relationships within the dimensions of environment, marketing, education, and services of exhibition ethics and to understand the differences in exhibition ethics (...) between RSH and HBE. The total number of valid questionnaires was 191 for RSH and 152 for HBE. The research method analysis of variance was applied to examine whether there were significant differences between individual's basic data and four different dimensions of exhibition ethics in museums. As survey data revealed, exhibition ethics had significant relationships with four dimensions (serviceability, education, environment, and marketing) and significant differences to the demographic variable, such as age. We suggest that exhibition agents should emphasize exhibition contents more than relative commodities, thereby possibly attracting audiences to visit the museum exhibitions. In addition, the exhibitions that were related to sensible issues should be divided into different levels regulated in terms of audience age and the degree to which parents, teachers, or narrators at the museum could negatively influence a younger visitor's perception of an exhibition and thereby museums. Finally, during busy periods, the museums should control visitor numbers to maintain visiting quality. Therefore, the museums should be able to create added value to attract more audience members to visit the exhibition. (shrink)

This article aims to defend the value of art museum audio guides. Modern guides have many functions, but I will focus on two that pertain directly to art appreciation. First, audio guides offer tours that direct visitors' attention to museum highlights. Second, they have individual stops that offer commentary and criticism about individual works of art. I will concede that the tours do not serve the interests of all visitors. However, I will defend the merits of (...) the individual stops. In particular, I will argue that they provide information about the associated works that it would be difficult for us to learn just by looking at them for ourselves. In so doing, the guides put us in a better position to appreciate the works. Crucially, this benefit obtains even if art appreciation turns out to be subjective, must be undertaken autonomously, or has to be grounded in empirical observation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 203-205 [Access article in PDF] The Taipai, Taiwan, Museum of World Religions Maria Reis Habito Dallas, Texas A new museum dedicated to exploring the world's great religious traditions opened in Taipei this past November. Its professed mission is rather unique: to teach about religions and religious life in the world, and to provide instructive experiences about the variety of the world's religious expressions (...) as a basis for mutual understanding, peace, and love among peoples of the world. The vision for the museum as a place that will foster religious learning, interreligious dialogue, and cooperation was developed by its founder, the Venerable Dharma Master Hsin Tao. He conceived the museum as an educational institution that will "explore the fundamental values that are at the roots of all religions." The mission of the museum—"to encourage respect, tolerance and love by fostering dialogue among people of all faiths and backgrounds as we work together to create greater understanding and peaceful interaction in the New Millennium"—has attracted widespread support among his disciples in Taiwan and overseas, whose contributions have made the museum project possible. The Content of the Museum of World Religions The goal in the content development and design of the museum has been twofold: (1) to create an institution of learning in which the visitor will find well structured information about important aspects of the world's religions and (2) to create an interactive space that, in the words of Ralph Applebaum, "immerses the visitors in an experience that enables them to view religion from many different perspectives to gain a better understanding of their own faith and the faith of others." To this, Professor Sullivan added, "[V]isitors will be invited to explore all religions as expressions of a universal search for purpose, meaning, and enlightenment. The museum will be a living monument to the human spirit and a sanctuary honoring the world's myriad faith traditions." To engage the visitor in this exploration, the visit to the museum has been designed as a journey that, even though not a ritual per se, has a structure analogous to the three-part structure of religious rituals.First, visitors experience a moment of separation from everyday life and enter into a very different quality of space and time. Second, during this kind of "time out," [End Page 203] suspended between the normal moments of everyday activity, the visitors undergo a special and intense experience, during which they receive knowledge that transforms their understanding and alters their self-perception. Such transformation occurs in the face of powerful sacred objects, symbols, or events that are displayed and experiencedin relatively dramatic presentations in the museum. They invite the visitor to participate and interact. Thirdly, steps are undertaken to reinsert the visitor back into the life of daily activity.There are fourteen steps to the museum experience, each of which lands the visitor in a different place, with its own experience of time. At each step, in each place, the religious structure of time is viewed on a different scale, seen under a different order of magnification. The museum experience is an orderly succession of times, magnified and mapped onto a series of spaces that invite the visitor's interaction. The aim is to offer the visitor an experience that, like a ritual, is satisfying and transformative and yet remains an experience proper to an institute of learning.As an example of one of the steps, imagine coming from the lobby (step 5) into the Prime Times Theater (step 6). The panel on the eastern wall of the lobby slides aside, and you enter into the darkened theater as into a cave. You are implanted there in the mysterious and primeval space to relive the experience of the seed of love and peace, planted in the fertile grounds of origins. In a fifteen-minute film you view the primordial times described in religious myths and relive the drama and emotion of how life came to be as it is. A powerful weave of narration and imagery retells the stories and poses fundamental questions... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 107-119 [Access article in PDF] Museum as Process Carol S. Jeffers Introduction Today's art museums are committed to completing major expansion and renovation projects, and vigorously carrying out their stated missions. 1 These missions typically are concerned with processes of acquisition, preservation, exhibition, and education. The National Gallery of Art, for example, is dedicated to "preserving, collecting, exhibiting, and fostering the (...) understanding of works of art." 2 Similarly, the Getty Museum at the J. Paul Getty Center seeks to "delight, inspire, and educate the public by acquiring, conserving, studying, exhibiting, and interpreting works of art." 3 Such processes are strategic, of course, and give direction and purpose to the range of programs and services offered by these institutions. Ensuring that visitors are surrounded by works of art, "at the highest quality," these processes also give rise to a particular view of the museum as an "object of reflection, contemplation, and discussion." 4Although unstated, I shall argue that art museums typically have other missions that are actively, if insidiously implemented through processes of representation (re-presentation), socialization, institutionalization, and commodification.The museum functions as a "socializing institution," that both represents and presents cultural assumptions, as well as social and aesthetic values to young and old alike. 5 These processes succeed in establishing an "ideology of aesthetic autonomy — the compartmental conception of fine art that segregates it to the separate realm of the museum." 6 Simultaneously, they present "ideology in material form." 7 The museum itself is a representation that tends to take on an independent and ultimately self-reflecting existence. In a Debordian view, "it is a spectacle, which, in its generality, is a concrete inversion of life, and as such, the autonomous movement of 8 [End Page 107] non-life." Through processes of representation and commodification, the spectacular museum is constructed as a frame that influences the public perception of art and society. Moreover, this ideological frame influences how the public experiences constructs of time and place, and how it comes to know about art in relation to the real world.Today's thriving art museums — and the various processes that deliver both their overt and covert missions — are likely to have a greater impact on society than ever before. With such potential, it seems especially important at this juncture to examine critically the art museum as process; to deconstruct that which has been "constructed as a symbol in Western society since the Renaissance." 9 In undertaking such an examination, then, the first task is to describe current museum impact on the public. Of special concern are questions about what the museum represents to its visitors, particularly to young students and teachers, and how these representations shape constructions of knowledge, conceptions of art, and roles for visitors and artists. Contemporary representations themselves raise questions about the historical context in which they originated, developed, and were carried forward. As a second task, then, this essay will present a historical-critical analysis that integrates several theoretical perspectives on the origins, development, and implications of the Western museum and its various processes. Next, I will consider the possibility and implications of visitor impact on museum processes. This last section includes examples of alternative museum approaches whose mission is implemented through active visitor participation in processes of conversation and community. Collecting and Exhibiting: The Museum as Sacred Grove The museum as a symbol in Western society is apparently recognized and understood as such, even by its youngest members. Children in the United States, Canada, and France, for example, can offer definitions of an art or other museum, and know how to "act and react" within one, even though they may have had extremely limited ornoprior museum experiences. 10 To these children, a museum is a venerable, quiet place, "like the library." 11 When asked, "what is a museum?" children typically respond with: "a place to collect things," or "a big place where lots of people go" to see "old stuff" and "lots of pictures." 12 In general, children seem to view museums as sites for exposition, and as repositories for... (shrink)

This article develops a fairness-based criticism of the UK’s policy of promoting free admissions at major museums. With a focus on geographic inequalities and per-capita museums spending, I argue that free admissions can be a surprisingly bad way of promoting cultural opportunities for disadvantaged groups. My criticism emphasises the fact that free admissions consume resources without necessarily providing targeted benefits to disadvantaged groups and addressing background inequalities. Given that museums vary in their location, visitor profile, and operating costs, this critique (...) does not apply to all museums. It applies to the largest and most popular museums in the most advantaged areas, which can expect to keep drawing significant numbers while charging. If we are aiming to prioritise the interests of less advantaged groups, we should be in favour of charging at London’s major museums, to finance “levelling up” across regions, and more direct access-promoting measures in targeted outreach, collaboration, and programming. (shrink)

Museum displays tend to black-box science, by displaying scientific facts without explanations of how those facts were made. A recent trend in exhibit design upends this omission by putting scientists, technicians, and volunteers to work in glass-walled laboratories, just a window away from visitors. How is science conceived, portrayed, and performed in glass-walled laboratories? Interviews and participant observation in several “fishbowl” paleontology laboratories reveal that glass walls alter lab workers’ typical tasks and behavior. However, despite glass-walled labs’ incomplete (...) and edited enactment of scientific work, displaying an active workplace valuably challenges visitors’ assumptions that science is passive and that museums are home only to facts and dead things. Thus, glass-walled labs do not destroy the black box that obscures scientific practice for nonscientists. Instead, they exemplify a glass box, a kind of black box that contains a performance of scientific work. Glass-boxing describes a common way in which museums present scientific practice—that is, by making it observable but incompletely so—by inviting the public to construct a rich understanding of science as human work. (shrink)

The introduction of digital games and simulations into science museums has prompted excitement about a new "post-museum" pedagogy emphasizing egalitarianism, interactivity, and personalized approaches to learning. However, many post-museums of science, this article aims to show, enact rhetorical performances that lead visitors to narrowly targeted answers and hide the authority of the expert in a play of tactile and affective activities, thus operating in opposition to many of the basic ideals of the post-museum. The Brain and Cognition (...) Exhibit at the Hong Kong Science Museum serves as a case study for how a post-museum exhibit, through embracing interactivity and visitor-centered tasks, becomes a site where science is tested on and performed through visitors' bodies such that institutional prescriptions are applied. Visitors are not merely encouraged at this exhibit to learn about the brain through doing but are trained to see functional and dysfunctional brains and to then diagnose themselves and their children by playing games and taking brain-measurement tests. As a result, the interactive engagement of the exhibit creates a new space of public medicalization. Reflections and suggestions are offered at the end of the article. (shrink)

Women educators played an essential role in transforming public museums that had been focused on collections and research into effective educational and informational sites that engaged broad publics. Three significant innovators were Delia Griffin of St. Johnsbury Museum in Vermont who emphasized hands-on learning, Anna Billings Gallup who shaped a distinctive model museum for children in Brooklyn and Laura Bragg of the Charleston Museum who established strong collaboration with the local public schools. Joining museum curatorial staffs (...) and professional associations that were largely male, these women educators and their peers typically provided pedagogical insights and teaching skills that enabled them to work effectively with school systems, teachers, pupils and parents. Genuinely interested in natural science, they shaped careers which included opportunities to engage with science, provided a considerable degree of autonomy and enabled them to experiment with hands-on learning. They built networks of museum educators and influenced the young American Association of Museums. Women museum educators created a bridge between semi-public natural history establishments for collection, preservation and scientific research and an active audience of teachers, pupils, visitors and patrons. Their efforts transformed museums into sites for education and broad public access to science in the early 20th century. (shrink)

This paper reports the results of questionnaire-based research conducted at an exhibition of interactive humanoid robots that was held at the Osaka Science Museum, Japan. The aim of this exhibition was to investigate the feasibility of communication robots connected to a ubiquitous sensor network, under the assumption that these robots will be practically used in daily life in the not-so-distant future. More than 90,000 people visited the exhibition. A questionnaire was given to the visitors to explore their opinions (...) of the robots. Statistical analysis was done on the data of 2,301 respondents. It was found that the visitors’ opinions varied according to age; younger visitors did not necessarily like the robots more than elderly visitors; positive evaluation of the robots did not necessarily conflict with negative evaluations such as anxiety; there was no gender difference; and there was almost no correlation between opinions and the length of time spent near the robots. (shrink)

ABSTRACT This essay examines the exhibition of dinosaurs at the American Museum of Natural History during the first two decades of the twentieth century. Dinosaurs provide an especially illuminating lens through which to view the history of museum display practices for two reasons: they made for remarkably spectacular exhibits; and they rested on contested theories about the anatomy, life history, and behavior of long-extinct animals to which curators had no direct observational access. The American Museum sought to (...) capitalize on the popularity of dinosaurs while mitigating the risks of mounting an overtly speculative display by fashioning them into a kind of mixed-media installation made of several elements, including fossilized bone, shellac, iron, and plaster. The resulting sculptures provided visitors with a vivid and lifelike imaginative experience. At the same time, curators, who were anxious to downplay the speculative nature of mounted dinosaurs, drew systematic attention to the material connection that tied individual pieces of fossilized bone to the actual past. Freestanding dinosaurs can therefore be read to have functioned as iconic sculptures that self-consciously advertised their indexical content. (shrink)

We report on the performative score “Sharing Perspectives” from the art/science research collaboration, Experimenting, Experiencing, Reflecting. Sharing Perspectives is developed as a score, inspired by choreography and the postmodern dance form Contact Improvisation, to stage exploration and improvisation, exploring uncertainty, creativity, togetherness, and the relationship between bodies and between bodies and space and artworks. The SP score acts as an experiment in how a brief intervention may affect the way art exhibitions are experienced, exploring how deeper and more sensorial engagement (...) with art may be facilitated, for the benefit of visitors, galleries and artists. Based on questionnaires and qualitative interviews with participants during the Olafur Eliasson exhibition “In Real Life” at the Tate Modern in London in November 2019, we explore how the SP score modulates a playful mode of being, enhancing the experience of a museum art exhibition as a space of transformation and reflection. We find that the SP score encourages curiosity, which allows participants to recognize their habits for art and instead experience art slowly, recognize their comfort zones and move past them. As the score enacts a sensorial and playful approach to the exploration of the exhibition, participants experience a breaking of boundaries between each other, toward the other visitors, as well as to the artworks and the space itself, prompting an experience of being part of the exhibit as a whole. We discuss how the SP score invites a slowness and curiosity that takes on characteristics of play, which can change the participants’ appreciation of an art space. (shrink)

Challenging topics in museums can guide museum professionals in developing modern methods of displaying their heritage, but also in offering reinterpretations of existing collections. The public also looks for challenging topics—injustice, loss, pain, or death—and many museums manage to attract visitors by offering them places to debate, reflect, or take action. These topics, if presented in an exhibition, could engage practising artists in an ideological exchange with the museum institution. Our statement is that artists with curatorial interest (...) can scrutinise the ways in which cultural heritage is revealed or interpreted for the contemporary public. The uncomfortable or uncertain aspects of recent and contemporary history are of great interest for contemporary artists and we assume that the Communist era in Romania could be further interpreted by artists in future museum places. (shrink)

Les nombreuses études de publics réalisées dans les musées et les expositions depuis un quart de siècle en France mettent en évidence une institution muséale aussi plurielle que ses publics. Elles montrent comment les caractéristiques de la visite se sont transformées, qu’il s’agisse du contexte, de l’organisation, de la nature de l’expérience de visite ou de son usage après coup. Elles relativisent également la thèse d’une reproduction sociale mécanique de l’intérêt pour les musées et par là même de la nature (...) des publics. Pour autant, le scepticisme persiste. Trois nouveaux analyseurs des changements à l’œuvre sont mobilisés pour achever de convaincre : la gratuité d’accès aux collections, la compagnie du visiteur, les temps sociaux de la visite.The many studies undertaken on museum visitors in the last quarter of a century in France clearly show that museums are as widely diverse as their visitors. They show how far the characteristics of museum visits have changed, whether in terms of context, organisation, or the nature and experience of a museum visit and its aftermath. They also bring a more relative perspective to the idea that interest in museums, and therefore types of museum visitors, are mechanically reproduced in society. Scepticism on this point nevertheless remains, and this study brings in three new analytical criteria to help overcome this: free access to museum collections, the company of the visitor and the social moments of museum visits. (shrink)

Recent museum practice has seen a return to ‘wonder’ as a governing principle for display and visitor engagement. Wonder has long been a contentious topic in aesthetics, literary studies, and philosophy of religion, but its adoption in the museum world has been predominantly uncritical. Here I will suggest that museums draw on a concept of wonder that is largely unchanged from seventeenth-century philosophy, yet without taking account of early modern doubts about wonder's efficacy for knowledge. In this paper (...) I look at Descartes' and Spinoza's views about wonder and the uses and disadvantages of wonder as a learning tool. This examination is extended to consider Descartes' and Spinoza's likely views about ‘museums’, in the sense of spaces that link objects both to feeling and to knowing. Finally, I suggest that there are resources in Spinoza's philosophy for bringing knowledge-enhancing feelings into the museum without resorting to the problematic concept of wonder. (shrink)

Women are drastically underrepresented in science, technology, engineering, and mathematics and this underrepresentation has been linked to gender stereotypes and ability related beliefs. One way to remedy this may be to challenge male bias gender stereotypes around STEM by cultivating equitable beliefs that both female and male can excel in STEM. The present study implemented a growth mindset intervention to promote children’s incremental ability beliefs and investigate the relation between the intervention and children’s gender stereotypes in an informal science learning (...) site. Participants were visitors to a science museum who took part in an interactive space science show. Participants who were exposed to a growth mindset intervention, compared to the participants in the control condition, reported significantly less gender stereotyping around STEM by reporting equitably in the stereotype awareness measure. Relatedly, participants in the control condition reported male bias gender stereotype in the stereotype awareness measure. Further, children between 5 and 8-years-old reported greater male bias stereotypes awareness and stereotype flexibility in space science compared to children between 9 and 12-years-old. Lastly, children demonstrated in-group bias in STEM ability. Male participants reported gender bias favoring males’ ability in stereotype flexibility and awareness measures, while female participants reported bias toward females’ ability in stereotype flexibility and awareness measures. These findings document the importance of a growth mindset intervention in buffering against STEM gender stereotyping amongst children, as well as the significant role a growth mindset intervention can play within an informal science learning site. (shrink)

In 1878, amid a rapidly proliferating social interest in public health and cleanliness, a group of sanitary scientists and reformers founded the Parkes Museum of Hygiene in central London. Dirt and contagion knew no social boundaries, and the Parkes's founders conceived of the museum as a dynamic space for all classes to better themselves and their environments. They promoted sanitary science through a variety of initiatives: exhibits of scientific, medical and architectural paraphernalia; product endorsements; and lectures and certificated (...) courses in practical sanitation, food inspection and tropical hygiene. While the Parkes's programmes reified the era's hierarchies of class and gender, it also pursued a public-health mission that cut across these divisions. Set apart from the great cultural and scientific popular museums that dominated Victorian London, it exhibited a collection with little intrinsic value, and offered an education in hygiene designed to be imported into visitors’ homes and into urban spaces in the metropole and beyond. This essay explores the unique contributions of the Parkes Museum to late nineteenth-century sanitary science and to museum development, even as the growth of public-health policy rendered the museum obsolete. (shrink)

A methodological framework is presented for the analysis of the discursive function of the science exhibit, which is treated as a multimodal “text” with conceptual, structural, and operational features encoding science knowledge. This analytical model is founded on Bernstein's theory of cultural codes (classification and framing) and socio-linguistics (formality). By using this framework, it is hoped that the museum researcher, the science museum practitioner, and the science communicator are empowered to retrieve the science exhibit “message,” to reconstruct the (...) image of the represented science, and the socio-cultural positioning of the model visitor in the communicative context of the science museum. (shrink)

The current investigation examines children’s learning about a novel machine in a local history museum. Parent–child dyads were audio-recorded as they navigated an exhibit that contained a novel artifact: a coffee grinder from the turn of the 20th century. Prior to entering the exhibit, children were randomly assigned to receive an experimental “component” prompt that focused their attention on the machine’s internal mechanisms or a control “history” prompt. First, we audio-recorded children and their caregivers while they freely explored the (...) exhibit, and then, we measured children’s learning by asking them two questions in a test phase. Children of all ages, regardless of the prompt given, discussed most aspects of the machine, including the whole machine, its parts, and, to a lesser extent, its mechanisms. In the test phase, older children recalled more information than younger children about all aspects of the machine and appeared more knowledgeable to adult coders. Overall, this suggests that children of all ages were motivated to discuss all aspects of a machine, but some scaffolding may be necessary to help the youngest children take full advantage of these learning opportunities. While the prompts did not significantly influence the number of children who discussed the machine’s mechanisms, children who received the component prompt were rated as more knowledgeable about the machine in the test phase, suggesting that this prompt influenced what they learned. Implications for visitor experience and exhibit design are discussed. (shrink)

In a commercialised and globalised China, museum institutions are pivotal elements in public strategies to present and create national self‐consciousness, insofar as their vast collections provide symbols of cultural identification on a national as well as an international level. This article will explore Chinese public museum policy and impact, firstly by describing the current status of the system as background information; secondly, by presenting the most recent trends in museum strategies and finally, by replacing the challenges and (...) complexities of the museum system in a broader context. The analysis will draw from first hand material from interviews and informal conversations with museum professionals, small‐scale visitor surveys as well as the most recent facts and figures, and it will be illustrated by examples and supported by secondary sources. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Art of Teaching in the MuseumRika Burnham (bio) and Elliott Kai-Kee (bio)A class is studying a small painting by Rembrandt in the galleries of the J. Paul Getty Museum in Los Angeles. The museum educator has been inviting the assembled visitors to look ever more closely, guiding the class toward an understanding both of the painting itselfand of our reasons for studying it. The class (...) has been anything but passive—indeed, it has been lively. The painting is The Abduction of Europa (1632), a picture that depicts in delicate detail a story from Greek mythology, the kidnapping of the Phoenician princess Europa by Zeus in the guise of a white bull. The visitors have shared their observations, speculations, ideas. As the class concludes, the museum educator asks the participants to speculate on the painting's larger meaning, to say what they think this work is, finally, about, as revealed by their long discussion. The group's experience has clearly moved beyond the telling of a single story. One participant suggests that Rembrandt's work is about the fearlessness of traveling into the unknown. Another says that it concerns the story of the soul's leaving the earthly for the heavenly realm. When the class comes to an end, people move closer to the painting and continue their discussions.In the same museum, another museum educator is also conducting a group of students through the galleries. He begins with a Roman statue of Venus, followed by an eighteenth-century French terra-cotta bust of Madame Récamier by Joseph Chinard. For each sculpture, he asks the students to focus on only one detail, the hands. The students are encouraged to observe and take note of the sculpted figures' gestures, much as if they were studying a person. Time seems to slow as perception sharpens. The educator listens patiently as the students begin to "read" the sculptures as a whole through the expressiveness of the hands. The group moves on to a mysterious portrait by Millet in which the students discuss the nature of love, and [End Page 65] then to a painting of a Russian princess by Winterhalter, in which the artifice of all the details is suddenly theatrical, dazzling, and delightful. At the end, no one wants to leave.As museum educators we teach in many kinds of programs, and teach in many ways. Every museum educator brings unique gifts to the art of teaching through works of art. The two classes described above might seem at first glance quite different. The first museum educator stays with a single work of art for the entire session, constructs her class around the observations and ideas of the students, and trusts that through their collective experience, a larger meaning will emerge. The second educator inspires his students with a feeling of confidence by guiding their observations of a single feature common to several works, and then allows a main idea to emerge. The two classes, however, are also alike in certain essential ways. In both cases, the students and the instructor are animated, concentrated, focused, and active. Their investigation is tightly focused on the works under discussion, and the group together reaches for a sense of the artworks as a whole. At the end, when the participants cluster around the works of art, still wanting to continue the experience of discovery, the instructors know that theirstudents have understood that engagement with a work of art is a beginning, not an end.The opportunities museum educators have to teach and learn are granted to us by the collections of objects in the care of the institutions in which we work, and by the students and visitors we invite to consider these objects. These artworks also impose upon us a great obligation, to bring them alive for those we lead through the galleries. For ultimately, it is our devoted attention that keeps artworks alive generation after generation.This essay is the result of our work as museum educators. It began with a casual discussion about what constitutes good teaching, and what we can do to guide ourselves and our docent colleagues toward consistent and principled teaching in our museums. We... (shrink)

Museum visitors partake in the effect of what we can call the domestication of the view. They witness the constant changes in how objects are allowed to exist in a museological space. In this way, visitors are challenged to cultivate new sensibilities that simultaneously reveal and conceal things and their relationships. These meanings have been subject to political debates, controversies, disputes, and conflicts around property rights involving museum representatives and other actors. As a result, the domesticated (...) things inside the museums threaten to displace themselves, moving towards the uncertainty of other shelters and other hands. Each time other flows and movements towards other ‘homes’ are asserted by different sort of groups and communities to reclaim or ‘bring home’ objects previously obtained through a mixture of pillaging, acquisitions, donations, and violent actions, distinct voices ask the same question: whose home? By exploring a case concerning the restitution of objects outside and inside museums, this article explores an alternative understanding of the notion of the house as a legitimate relationship between materiality and those worlds in which objects dwell. In the first sections, to explore the idea of heterotopy coined by Michel Foucault from an anthropological perspective, I return to some interpretations of notions such as ‘home’ and ‘house’ drawing on classical ethnographies. Secondly, I focus on what Ghassan Hage calls a ‘diasporic lenticularity’ to explore other “modes of existing” in multiple places and realities. Finally, I conclude by revolving distinct cases concerning museum practices and reallocation processes, transforming and (re)creating new spaces to locate and house unstable objects and presences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:When Little Girls Become Junior Connoisseurs:A Cautionary Tale of Art Museum Education in the HyperrealMelinda M. Mayer (bio)Introducing the TaleA young girl about eleven years old appeared on the TV screen. She stood in an art museum expounding upon the painting hanging behind her. She talked about the artist and what the image portrayed. With an air of elitist prissiness that suited the museum environment, the (...) girl delivered her presentation to a group of schoolmates. As I and the other art museum educators assembled in the conference room where the video was shown learned, the girl had participated in a program at a prominent art museum in which students from her school came to the museum many times during the school year. This repeat-visit program culminated with these youngsters demonstrating what they learned about art by giving a talk on a single artwork to friends, family, or other classmates. The girl's recitation of art historically correct information was impressive. She sounded just like a junior art historian. Yet, something was missing. The little girl appeared to copy the style of art historical talk more than its content. I turned to the colleague sitting next to me and wondered, "Did that girl learn how to make meaning or how to talk like a curator?"Despite the several years that have passed since the conference, the image of that little girl lingers in my mind. A repeat-visit school program is what an art museum educator working with school tours desires.1 All an art museum educator can hope to impart on a one-shot tour is a simple exposure to art and the museum. Hopefully, that one encounter will result in a lifelong appreciation of art and art museums, but that is a tall order for one field trip. Repeat-visit programs, by contrast, allow knowledge and skills related to art to be presented in the school and museum and reinforced in subsequent sessions. Students can learn to meaningfully interpret the content [End Page 48] of works of art as well as make personal connections with them.The girl in the video, however, did not appear to be engaged in meaning-making. No hint that the painting had metaphorically come off of the museum wall and moved into her life experience appeared in the girl's presentation. Instead, she successfully imitated the manner of an art historian.In the essay "The Precession of Simulacra," the French sociologist Jean Baudrillard theorizes that reality or meaning no longer exist.2 Like the Moebus strip, which when split generates a duplicate of itself, what we experience as reality in this increasingly mediated age in which we live is no more than the repeated circulation of models or simulacra. Rather than models emerging out of real phenomena or originals, they beget themselves—models precede models. Any notion of reality implodes in the circulation of these simulations. Reality becomes what Baudrillard calls the hyperreal—simulation generating simulation. What does this imply for visual art? Interpretation of meaning in artworks would not reveal some represented truth of human experience; instead it would be the repetition of interpretive forms masking that there is no reality to represent. The talk by the little girl in the video indicated that art museum education, at least in that program, had become the perpetuation of a model of inquiry. Rather than making meaning, the girl reproduced the aesthetics of art history interpretation. Even under the ideal circumstances of a repeat-visit school program, the girl became the perfect model of a petite connoisseur.Although the video depicts one little girl in one art museum program, is there not a cautionary tale here for the field of art museum education?3 When visitors to art museums, including children on school field trips, participate in educational programs, are they engaging in meaning-making or an experience in the hyperreal? In theory art museum educators espouse facilitating meaning-making as their mission; however, in practice are they falling into a vortex of recycling the models of art historical interpretation they assimilated during their own education? Do they replicate the form of the model rather than the substance of interpretation... (shrink)