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Activity-Based Teaching in the Art Museum : Movement, Embodiment, Emotion by Lilit Sadoyan, Lissa Latina and Elliott Kai-Kee (2020, Trade Paperback)

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Activity-Based Teaching in the Art Museum : Movement, Embodiment, Emotion, Paperback by Kai-kee, Elliott; Latina, Lissa; Sadoyan, Lilit, ISBN 160606617X, ISBN-13 9781606066171, Brand New, Free shipping in the US "Blends theory and practice to help educators--from teachers and docents to curators and parents--create meaningful interpretive activities for museum visitors of all ages"--Provided by publisher.

About this product

Product Identifiers

PublisherGetty Publications

ISBN-10160606617X

ISBN-139781606066171

eBay Product ID (ePID)10038388025

Product Key Features

Book TitleActivity-Based Teaching in the Art Museum : Movement, Embodiment, Emotion

Number of Pages184 Pages

LanguageEnglish

Publication Year2020

TopicStudy & Teaching, Collections, Catalogs, Exhibitions / General, Organizations & Institutions, Teaching Methods & Materials / Arts & Humanities

IllustratorYes

GenreArt, Education

AuthorLilit Sadoyan, Lissa Latina, Elliott Kai-Kee

FormatTrade Paperback

Dimensions

Item Height0.1 in

Item Weight22.1 Oz

Item Length1 in

Item Width0.8 in

Additional Product Features

Intended AudienceTrade

LCCN2019-020296

Dewey Edition23

Dewey Decimal708

SynopsisAn essential resource for museum professionals, teachers, and students, the award-winning Teaching in the Art Museum , set a new standard in the field of gallery education. This ground-breaking follow-up book explores why and how to encourage physical and sensory engagement with works of art., An essential resource for museum professionals, teachers, and students, the award-winning Teaching in the Art Museum set a new standard in the field of gallery education. This follow-up book blends theory and practice to help educators-from teachers and docents to curators and parents-create meaningful interpretive activities for museum visitors of all ages. Written by a team of veteran museum educators, Activity-Based Teaching in the Art Museum offers diverse perspectives on embodiment, emotions, empathy, and mindfulness to inspire imaginative, spontaneous interactions that are firmly grounded in history and theory. The authors begin by surveying the emergence of nondiscursive gallery activities in the 1960sand 1970s and move on to articulate a theory of play as the cornerstone of their innovative methodology. Play is defined essentially as movement-both physical and imaginary-toward and away from, around, and inside and outside works of art Replete with sidebars describing activities implemented at the J. Paul Getty Museum, this book is required reading for anyone who has ever wondered: What constitutes a gallery activity? What makes a good activity for this object? How do I create and lead that activity? And how do I leave space for visitors and students to cocreate them with me? Book jacket., This groundbreaking book explores why and how to encourage physical and sensory engagement with works of art. An essential resource for museum professionals, teachers, and students, the award winning Teaching in the Art Museum (Getty Publications, 2011) set a new standard in the field of gallery education. This follow-up book blends theory and practice to help educators--from teachers and docents to curators and parents--create meaningful interpretive activities for children and adults. Written by a team of veteran museum educators, Activity-Based Teaching in the Art Museum offers diverse perspectives on embodiment, emotions, empathy, and mindfulness to inspire imaginative, spontaneous interactions that are firmly grounded in history and theory. The authors begin by surveying the emergence of activity-based teaching in the 1960s and 1970s and move on to articulate a theory of play as the cornerstone of their innovative methodology. The volume is replete with sidebars describing activities facilitated with museum visitors of all ages. Table of Contents Introduction Part I History 1 The Modern History of Presence and Meaning A philosophical shift from a language-based understanding of the world to direct, physical interaction with it. 2 A New Age in Museum Education: The 1960s and 1970s A brief history of some of the innovative museum education programs developed in the United States in the late 1960s and 1970s. The sudden and widespread adoption of nondiscursive gallery activities during this period, especially but not exclusively in programs designed for younger students and school groups, expressed the spirit of the times. Part II Theory 3 Starts and Stops Two attempts by American museum educators to articulate a theory for their new, nondiscursive programs: the first deriving from the early work of Project Zero, the Harvard Graduate School of Education program founded by the philosopher Nelson Goodman to study arts learning as a cognitive activity; the second stemming from the work of Viola Spolin, the acclaimed theater educator and coach whose teaching methods, embodied in a series of "theater games," were detailed in her well-known book Improvisation for the Theater (1963). 4 A Theory of Play in the Museum A theory of play that posits activities in the museum as forms of play that take place in spaces (or "playgrounds") temporarily designated as such by educators and their adult visitors or students. Play is defined essentially as movement --both physical and imaginary (metaphorical)--toward and away from, around, and inside and outside the works of art that are foregrounded within those spaces. Gallery activities conceived in this way respond to the possibilities that the objects themselves offer for the visitor to explore and engage with them. The particular movements characterizing an activity are crucially conditioned by the object in question; they constitute a process of discovery and learning conceptually distinct from, but supportive of, traditional dialogue-based modes of museum education, which they supplement rather than supplant. Part III Aspects of Play 5 Embodiment, Affordances The idea of embodiment adopted here recognizes that both mind and body are joined in their interactions with things. Investigating works of art thus involves apprehending them physically as well as intellectually--in the sense of responding to the ways in which a particular work allows and even solicits the viewer's physical grasp of it. 6 Skills Ways in which objects present themselves to us, as viewers, and what we might do in response as they fit with the bodily skills we have developed over the course of our lives. Such skills might be as simple as getting dressed, washing, or eating; or

LC Classification NumberN430.K345 2019