Educator Workshop Creative Exchange the Metropolitan Museum of Art 6 Ãâ¸ã‘å½ãâ½ã‘â
Posts Tagged 'teacher workshop'
The art educational activity-extravaganza that is Museum Forum for Teachers holds the stardom of being one of my favorite weeks of the summer. Each yr, The Warehouse, Nasher Sculpture Center, Modern Art Museum of Fort Worth, Kimbell Art Museum, and the Dallas Museum of Fine art piece of work together to coordinate a week-long workshop dedicated to helping classroom teachers deepen their agreement of modern and gimmicky art and develop strategies to teach, interpret, and use works of fine art in the classroom and in museum galleries. Best of all, each institution hosts i twenty-four hours of the week giving participants and boyfriend museum educators the opportunity to explore a variety of special exhibitions, collections, and experience unlike educational activity styles. It'southward well worth braving traffic across the Metroplex to experience the richness of DFW'due south museum community!
DiscussingDoug Aitken: Electrical Globeat the Modernistic Art Museum of Fort Worth.
This year, 20-three educators embarked on a calendar week of museum experiences, gallery discussions, and studio projects for CPE credit. Not every educator who participated has a background studying art, and the diversity of perspectives enriched the quality of our discussions. In the spirit of highlighting different approaches, the museum educators brought back the "Educator Exchange" from last twelvemonth and each led a session at one of the other institutions. I ever detect that I come abroad from the week inspired and energized for the upcoming school yr. Check out some of our highlights from this year:
And what exercise our participants have to say well-nigh their experience at Museum Forum for Teachers?
This week has felt like a vacation. It'southward as though I have been on guided tours on location by Rick Steves every mean solar day. I'd dearest to nourish next year…Well planned. Well washed.
This was my favorite yr so far…I don't know how all of y'all manage every year to brand this outcome a week of and then much learning and fun. I tin't expect to get to each museum each twenty-four hours. Absolutely my favorite thing I practise all year! Give thanks you!
This was my first year and I hope to be dorsum! Fine art camp for teachers is how I will explain it when I am asked near the highlight of my summer.
I feel inspired, charged up again, and optimistic about the new ideas I'll bring to my students. Thank you!
Once again, this Forum has completely exceeded my expectations. The content was rich, insightful, and relative, the projects were fun and accessible, and everyone on staff is an accented joy to work with. This Forum is not only the cornerstone of my upperclassman content, merely a week for me to reconnect with art and truly exist myself. Thank you all and so much for what yous practice!
Sign upwards to receive our emails and check the box for Data for Teachers, so yous tin can stay continued to heady professional evolution opportunities here at the DMA and join us for Museum Forum for Teachers adjacent year!
Lindsay O'Connor
Managing director of Docent and Instructor Programs
Arthur John Elsley, Difficult Pressed (Any Port in a Tempest/Late for School), 1898, Dallas Museum of Fine art, gift of Kim Hashemite kingdom of jordan.
Calling all teachers! We promise your dorsum to school experience bears no resemblance to Arthur John Elsley's Hard Pressed (Any Port in a Storm/Late for Schoolhouse), and then we'd like to help y'all start the year off on the right notation! Check out our Instructor folio to discover upcoming opportunities and helpful tips for incorporating the DMA into your lesson plan this year.
We offer a wide diversity of resources for educators including information on K-12 Educatee Visits, Gallery-Guides, Teacher Resources, and more. Be certain to peruse the Types of Pupil Tours nosotros offering, to get a better thought of the opportunities available to you lot and your students here at the Museum. Equally y'all'll find, we're offering a new STEAM tour this year! You can besides schedule a Docent-Guided Bout or a Cocky-Guided Visit of upcoming special exhibitions,Divine Felines: Cats of Ancient Egypt and Art and Nature in the Centre Ages. Helpful tip: exist sure to submit your request at least three weeks in accelerate of your visit to come across a paid exhibition for free!
Interested in visiting the Museum with your fellow teachers? You tin can schedule a Teacher In-Service here at the Museum, or register for an upcoming Teacher Workshop (more on that below!) We're e'er looking for new ways to support and celebrate educators, so please be sure to sign up to receive our emails and cheque the box for Information for Teachers to stay connected.
Spoon with Jackal Handle, ca. 1539-1292 B.C.East., wood, Brooklyn Museum. Charles Edwin Wilbour Fund, 37.623E, Divine Felines: Cats of Ancient Arab republic of egypt is organized by the Brooklyn Museum
Sphinx of King Sheshenq, ca. 945-718 B.C.E., Statuary, Brooklyn Museum. Charles Edwin Wilbour Fund, 33.586, Divine Felines: Cats of Ancient Arab republic of egypt is organized by the Brooklyn Museum
Cat with Kittens, ca. 664-30 B.C.E. or afterwards, statuary, wood, Brooklyn Museum. Charles Edwin Wilbour Fund, 37.406E, Divine Felines: Cats of Ancient Egypt is organized by the Brooklyn Museum
Figure of a Cat. From Arab republic of egypt. Ptolemaic Flow–Roman Period, 305 B.C.E.–first century C.E. Wood, golden gesso, bronze, rock crystal, drinking glass, Brooklyn Museum, Charles Edwin Wilbour Fund, 37.1945E, Divine Felines: Cats of Ancient Arab republic of egypt is organized by the Brooklyn Museum
Here at the DMA, we're looking frontwards to the opening of the claw-some new exhibition Divine Felines: Cats of Ancient Arab republic of egypt on Sunday, October 9, and nosotros want educators to have part in the fun with a Teacher Workshop. The exhibition explores the role of cats and lions in ancient Egyptian mythology, kingship, and everyday life, featuring material from the Brooklyn Museum's world-famous Egyptian collection. Our workshop on Saturday, October 22, volition provide educators with the opportunity to enjoy the exhibition before public hours while learning strategies to teach, interpret, and utilize works of art in the classroom and Museum galleries. Register hither–What more purr-suasion do you need? Space is limited, so sign-up rightmeow!
We expect forward to seeing y'all and your students at the DMA this fall, and we wish you a smooth start to the new school year!
Lindsay O'Connor
Director of Docent and Teacher Programs
This summer I had the opportunity to participate in my beginning Museum Forum for Teachers, a calendar week-long teacher workshop coordinated by The Warehouse, Nasher Sculpture Heart, Modernistic Art Museum of Fort Worth, Kimbell Art Museum, and the Dallas Museum of Art. Each twenty-four hour period, twenty-iv dedicated North Texas educators braved traffic beyond the DFW metroplex to participate in a total 24-hour interval of museum experiences, discussions, and projects for CPE credit centered around mod and contemporary art. Part of the fun of Museum Forum is that each establishment hosts one day of the calendar week, and so we rotate and spend time exploring different collections. What could exist better than the chance to take hold of upwards on current exhibitions and collaborate with a fabulous group of teachers and museum educators!
This year marked the ten-year anniversary of Museum Forum. To celebrate, nosotros tried out a daily "Educator Exchange" and led a session at 1 of the other institutions (we also consumed many, many cupcakes). I shared A Work in Progress: Plaster in the Nasher Drove, and we practiced an exercise called Drawers and Describers in pairs.
Discussing the Joel Shapiro exhibition at the Nasher Sculpture Center before creating stop-motion video shorts.
Hither at the DMA, nosotros tried out a collaborative poesy practice inPassages in Modern Art: 1946 – 1996. Nosotros divided into groups of 5, and each group was assigned a work of art in the exhibition. Afterwards taking some time to quietly sketch and make notes, each participant wrote downwardly i sentence on a slip of paper from the signal of view of the work of art. From at that place, each group worked together to accommodate their responses together into a narrative. Check out their outstanding piece of work!
Jasper Johns, Device, 1961-1962, Dallas Museum of Art, gift of The Art Museum League, Margaret J. and George V. Charlton, Mr. and Mrs. James B. Francis, Dr. and Mrs. Ralph Greenlee, Jr., Mr. and Mrs. James H. W. Jacks, Mr. and Mrs. Irvin L. Levy, Mrs. John W. O'Boyle, and Dr. Joanne Stroud in award of Mrs. Eugene McDermott
Collaborative verse form inspired by Jasper Johns.
Dorothea Rockburne, Locus Series #6, 1972, Dallas Museum of Fine art, Mr. and Mrs. Jake 50. Hamon Fund.
Collaborative poem inspired by Dorothea Rockburne.
Tracy Hicks, Clear Cutting, 1985–1986, Dallas Museum of Art, Museum League Purchase Fund.
Collaborative poem inspired by Tracy Hicks.
Jim Dine, Self-Portrait Side by side to A Colored Window, 1964, Dallas Museum of Art, Dallas Art Association Buy, Contemporary Arts Council Fund.
Collaborative poem inspired by Jim Dine.
Yayoi Kusama, Accumulation,1962–1964, The Rachofsky Collection and the Dallas Museum of Art through the DMA/amfAR Benefit Auction Fund.
Collaborative poem inspired by Yayoi Kusama.
Speaking for myself, the week was inspiring, immersive, and left me excited to revisit some of the exercises and ideas nosotros explored in upcoming Teacher Programs. Our participants enjoyed Museum Forum almost as much as museum staff!
I honey the forum, all of the museum staff involved, and everything you guys do. Give thanks yous so much! I'll be back next year.
I was impressed with EVERY aspect of this. It was the nigh rewarding (personally & professionally) grooming I have attended in…forever!!!
This is by far the most fun and most challenging teacher conference I have ever attended!! The level of critical thinking necessary blows away annihilation I've washed as a teacher in a very long time. Thanks so much!!!
Interested in joining us for Museum Forum for Teachers next summer? Sign upwards to receive our emails and bank check the box for Information for Teachers, so you tin stay connected to exciting professional development opportunities here at the DMA!
Lindsay O'Connor
Manager of Docent and Teacher Programs
Terminal week, I had t
he pleasance of spending my time with teachers and colleagues as part of the annual Museum Forum for Teachers. This week-long instructor workshop focusing on modern and contemporary art is a collaboration between multiple DFW museums, including The Warehouse, the Nasher Sculpture Center, the Modern Art Museum of Fort Worth, the Kimbell Art Museum, and the Dallas Museum of Fine art.
During the week, each location hosts a group of twenty-five instructors for one day of discussions and projects for CPE credits. It was a fun, thought-provoking, and intense experience! Everyone made ii dimensional works of art using just fabric, plastic, paper, stitch witchery, and heated irons at the Warehouse. Teachers toured an installation project in the Vickery Meadows neighborhood with the Nasher Artist-In-Residence, Rick Lowe. At the DMA nosotros explored artist-induced meaning through blurring images in the style of Gerhard Richter, and examined institution-created meaning by becoming curators. In Fort Worth, nosotros created grid-like Minimalist art at The Modern, and painted Japanese screens at the Kimbell.
The results of one activity were quite interesting: during our 24-hour interval at the Modernistic we examined Sol LeWitt'sWall Cartoon #50, in which the artist created a drawing and fix of instructions for any installers to finish the piece of work at a different location. In this work of conceptual fine art, the instructions themselves are the work of art; the installation of it is simply an extension and realization of this idea. (While visually very different from the Modernistic'south, LeWitt's process here is similar to the ane he used in the DMA's Wall Drawing #398, installed in the barrel vault.)
Sol LeWitt, Wall Drawing #398, 1983 (installed 1985), Dallas Museum of Art, gift of The 500, Inc., Mr. and Mrs. Michael J. Collins and Mr. and Mrs. James L. Stephenson, Jr.
We were inspired to create our own work of conceptual paper drawing by creating a prepare of instructions resembling an "official" certificate designating the instructions equally the work of art. And so nosotros handed our instructions to another participant who had to become the "installer" and draw our image based on the instructions.
For my instructions, I decided to play around with LeWitt's geometric rigidness by applying it to a negation of bodily control and precise mark-making:
1. Agree a pencil.
2. Spin around thirty-9 times.
iii. Effort to draw thirty-nine directly parallel lines on a sheet of paper situated vertically (on a wall or easel).
4. After a 30-nine second break, hold a pencil in your non-ascendant hand.
five. Draw thirty-nine straight lines with your non-ascendant paw that cross the get-go set of lines at a ninety-degree angle.
Susan, 1 of the workshop participants, did an amazing job interpreting these instructions. This was the third of a set of drawings she did based on my instructions, all very different in appearance! (Although she correctly pointed out that thirty-9 lines were mayhap too many.)
If you are interested in applying for next year's Museum Forum for Teachers, sign up for our educator email newsletter, where we will post information next jump once it has been announced!
Artwork shown:
- Sol LeWitt, Wall Drawing #398, 1983 (installed 1985), Dallas Museum of Art, gift of The 500, Inc., Mr. and Mrs. Michael J. Collins and Mr. and Mrs. James L. Stephenson, Jr.
When I visited Dallas for the first time, my number i must-see destination was The Sixth Flooring Museum. I have been fascinated by the Kennedy family since I was nine years quondam, and I felt compelled to make a pilgrimage to Dealey Plaza and the former Texas Schoolhouse Book Depository. What I didn't realize is that many Texans, including a large number of the DMA's docents, take never been to The Sixth Floor Museum. That inverse terminal week, when a group of docents and I ventured downwards to the West End to explore The Sixth Floor Museum equally a group.
The original sign from the Texas School Book Depository on brandish at The Sixth Floor Museum
The timing for our field trip couldn't take been better. But last week, Hotel Texas: An Fine art Exhibition for the President and Mrs. John F. Kennedy opened at the DMA. This exhibition brings together thirteen of the sixteen artworks that were placed in Suite 850 at the Hotel Texas in Fort Worth. The President and Mrs. Kennedy slept in Suite 850 on Nov 21, 1963–the night before his fateful trip to Dallas. The original installation was created over the course of v days past a small grouping of art collectors in Fort Worth. Works past Picasso, van Gogh, Marsden Hartley, and Thomas Eakins decorated the suite's living room and two bedrooms. The DMA is marking the anniversary of President Kennedy'southward assassination by bringing these works back together for the first time in 50 years.
Docent Judy Butts examines Charles Marion Russell's Lost in a Snowstorm
The docents and I explored Hotel Texas together earlier traveling down to The 6th Floor Museum. In one case we were there, we were greeted past the museum's main curator, Gary Mack. Gary spoke with us about his fourth dimension at The Sixth Floor Museum, including his part in curating the museum'southward main exhibition: John F. Kennedy and the Retention of a Nation. Later on speaking with Gary, we were free to explore the museum at our own pace. This was my 5th visit to The Sixth Floor Museum, and every visit is powerful and moving. This visit was even more special, though, as I listened to the docents share their memories of where they were on Nov 22, 1963.
Sharron Conrad and Gary Mack speak with the DMA's docents at The Sixth Floor Museum
For those of you who participate in DMA Friends, we have launched a new JFK Badge in conjunction with the Hotel Texas exhibition. To receive this badge, you only demand to visit The Sixth Flooring Museum and the Hotel Texas exhibit at the DMA. Show your ticket stub from The Sixth Floor Museum to our Visitor Services Staff to receive the code. We hope to encourage our Friends and visitors to take this unique opportunity to proceeds a better understanding of history through these exhibitions.
The DMA and The 6th Flooring Museum have likewise teamed upwardly to offer a special experience just for teachers during a full-24-hour interval Teacher Workshop on Thursday, June 27th. The Kennedys in Texas: The Fine art and History of November 22, 1963 will begin at the DMA in the Hotel Texas exhibition. Subsequently breaking for lunch, nosotros'll spend the afternoon at The Sixth Floor Museum. Registration is now available online–just select "Instructor Programs" to sign up. Nosotros promise to see you there!
Shannon Karol
Manager of Docent and Teacher Programs
Last Saturday we kicked off the starting time teacher workshop of the fall: Cacao, Codices, and Cantankerous-Cultural Connections. We explored The Legacy of the Plumed Serpent in Ancient Mexico and considered the complex trade networks and the shared creative styles between the multilingual societies in Post-Classic Mesoamerica. Nosotros also spent quality time with the Codex Nuttall, the Mixtec flick volume that tells a story without the utilize of a written language.
Groups of workshop participants created their own codices of popular or historical events. Groups had to guess each other's narrative, testing the difficulty of communicating without words. Would you have been able to guess what stories their codices were telling?
Join us for a Saturday teacher workshop on Oct six or November 17!
Until next time,
Andrea 5. Severin
Coordinator of Didactics Programs
Have y'all visited TheLegacy of the Plumed Serpent in Aboriginal Mexico yet? I think at that place is wonderful opportunity for interdisciplinary exploration with this exhibition. A variety of cultures are represented, all of which were continued by a shared pictorial language that crossed geographic, ethnic, and linguistic boundaries. To acquire more, cheque out the DMA's online teaching materials related to the exhibition on CONNECT.
We recently added the following works of art to our exhibition resources:
On September 8, 2012 the DMA will host a half-mean solar day workshop, Cacao, Codices, and Cross-Cultural Connections in Ancient Mexico. Workshop participants will investigate the exhibitionThe Legacy of the Plumed Serpent in Ancient Mexico and explore the artwork, narratives, and pictorial linguistic communication that bridged the Toltec, Mixtec, Maya, and other disparate Mesoamerican cultures between A.D. 900 and 1521.
We would love to see you and your colleagues at this workshop or another one of our upcoming teacher workshops. You can register online or past contacting teacherprograms@DallasMuseumofArt.org
I hope anybody's school year is off to a fabled beginning!
Andrea V. Severin
Coordinator of Educational activity Programs
Destination: Anytown USA
Published Baronial 7, 2012 Fine art & Educational activity , Museum Insight 4Comments
Tags: Anytown USA, Dallas Arts Commune, Jack Pierson, Kimbell Art Museum, Museum Forum for Teachers, Nasher Sculpture Center, Rachofsky Firm, teacher workshop, the Mod
Our annual Museum Forum for Teachers has come and gone, and this twelvemonth was another rousing success. Twenty-two teachers participated in the week-long program, and spent a full mean solar day at each of the post-obit Museums: The Rachofsky House, the Nasher Sculpture Centre, the Modern Fine art Museum of Fort Worth, the Kimbell Art Museum, and of course the DMA.
During their time at the DMA, the teachers went on a walking bout of the Arts District before spending time in Flower of the Prairie: George Grosz in Dallas. Both of these experiences led to their afternoon art project: creating a watercolor painting of their impression of Dallas.
I teacher's watercolor showed the Nasher Sculpture Centre and Museum Tower.
Teachers were as well able to spend time in a brand new installation, Variations on Theme: Contemporary Art 1950s–Present. While we were in the exhibition, nosotros focused on the themes of the figure, vanitas, and place. The idea of identify was ane of our cardinal themes for the twenty-four hours, and we spent quite a fleck of fourth dimension looking at Jack Pierson's Anytown United states of america.
Talking with teachers during the 2012 Museum Forum for Teachers
I always love when Anytown U.s. is on view. There's something cornball about it, and I always wonder only where "Anytown" might exist. The general consensus among the teachers was that Anytown was a small boondocks that probably looked a lot similar Mayberry. Equally nosotros looked at the artwork, the teachers were given the following prompt:
The letters that brand upwardly this sculpture come from a diversity of places. Imagine that each of the messages came from signage on buildings in Anytown USA. Select one letter and write a description of the business yous recall used that alphabetic character in its signage. Remember, your response must be inspired past the look and experience of the font/alphabetic character you select.
Jack Pierson, Anytown USA, 2000, Dallas Museum of Art, souvenir of the Inferior Assembly, 2004.10.A-I, © Jack Pierson
Based on the teacher'south responses, it sounds like Anytown USA would be a wonderful identify to live! Here are some of their ideas:
NY: A coffee store where anybody goes to hang out. Every town has to have a coffee store. Or, a deli run by a transplant from New York. All of the sandwiches are named after local celebrities.
T: An antique or curio store, and all of the employees are eclectic, just like the goods they sell.
O: A donut shop where grandparents spend weekend mornings with their grandkids. A urban center is defined by its donut shops. Or, information technology's an old gas station that is practical, functional, only a little flake dirty. They don't intendance almost the aesthetics of their business, they only want to get the job done.
Westward: This Due west looks very commercial and slick, similar it came from a Walden Books. Or, it could be from a Woolworth'southward Five and Dime.
N: A feminine upscale hotel, or maybe a newspaper press office. Or, mayhap it'southward for a fine fine art framing shop that has a Thomas Kinkade painting hanging in the window.
U: This belongs to a Western store called "Boot Land."
S: This S looks universal and unproblematic–information technology belongs to a shop called Supermart that sells everything.
A: This could be part of the sign of a ball park. Or, it'south the sign for a bar called BAR that'south full of smoke and beer, just is a place to escape.
Surprisingly, none of the teachers selected to write near the kickoff yellowish A. What type of business concern do you lot recall that A might correspond? I would love to hear your ideas!
Shannon Karol
Manager of Docent Programs and Gallery Teaching
Last Friday marked the end of Summer Seminar 2012: Teaching for Creativity, a week-long, immersive workshop for teachers of all grades and subjects to explore ways to foster creative thinking skills in their students. Equally a relatively fresh DMA employee, this Summer Seminar was my first. I was joined by eight educators from near and far (from Texas to Nebraska to Monterrey, Mexico!). Participants spent the week with the Museum's resident creativity expert, Dr. Magdalena Grohman, engaging in group and independent creativity exercises, exploring creativity through art in the galleries, discussing current scholarship on inventiveness, and developing lesson plans to be tested in their classrooms next school year.
Cheers to this year'southward participants for your insight, enthusiasm, and open up-minds. Check out some of the photos from our idea-filled week.
Andrea V. Severin
Coordinator of Didactics Programs
2012 Summer Seminar for Teachers
Published March 27, 2012 Creativity , Teaching for Creativity 1Comment
Tags: Heart for Creative Connections, artistic thinking, creativity, Dallas Museum of Art, summer seminar, instructor, teacher workshop, teachers, education, University of Texas at Dallas
2011 Summertime Seminar Participants
Imagine yourself among a group of educators — spirited, inspiring, trusting, supportive, and innovative — all focused on creativity and the nurturing of students. Now imagine this group immersed in the creative environment and resource of the Dallas Museum of Art for one full week. This is theSummer Seminar experience for teachers at the DMA, and we'll be hosting the 2012 Seminar June 11-fifteen. We invite you to join usa!
Teaching for Creativity reached beyond my expectations past exploring how to consider attitudes, ideas, and associations I may have discarded or not considered before this grade.– 2011 participant
Designed for teachers of all grade levels and subjects, Summer Seminar: Teaching for Creativityexplores education and creativity through experiences in the DMA's galleries and Centre for Creative Connections. The form references creativity from a diverseness of perspectives, and participants engage in readings well-nigh creativity from various authors, including Robert Sternberg, Michele and Robert Root-Bernstein, and Mihaly Csikszentmihalyi. Through conversations and workshops centered on creative attitudes and thinking, the Seminar supports teaching skills and approaches that foster imagination, curiosity, an open mind, and a natural bulldoze for creating in students. UT Dallas professor Magdalena Grohman and DMA staff atomic number 82 workshops and gallery experiences. Participants reflect on and farther develop their own creativity, also as focus on how to teach for inventiveness.
I volition use the tools in order to push myself farther with my projects, rather than staying in [a] comfort zone. – 2011 participant
This definitely helped me tap into more creative thinking. The exercises and activities were very helpful. – 2011 participant
2011 Summer Seminar gallery feel
Throughout the Seminar, the DMA galleries serve every bit a kind of laboratory infinite, in which we consider the creative process and relate creative thinking techniques to specific works of art. In-depth experiences with art cultivate our abilities to detect, envision, express, explore, engage, and sympathize in the arts and other disciplines. Through these experiences, we may become more persistent, flexible thinkers, amend problem explorers and problem solvers—overall, more creative beings.
Unlike about professional development, the focus is not on 'making a better instructor' merely on providing good teachers with meliorate tools to bring out the best in their students. – 2011 participant
The ane-week Summertime Seminar experience serves as a goad for an extended relationship between participating educators and the DMA equally we proceed the dialogue virtually educational activity and creativity throughout the academic year. This blog is one venue for the continued dialogue — view posts from a series titled Education for Creativity to learn more than and hear about the artistic journeys of several educators in the classroom. The blog post this Thursday will feature 2011 Summer Seminar participant, Lorraine Gachelin.
Registration for the 2012 Summer Seminar: Teaching for Creativity is currently open. For more data, please contact Andrea Severin at aseverin@DallasMuseumofArt.org.
Nicole Stutzman
Director of Teaching Programs and Partnerships
Source: https://blog.dma.org/tag/teacher-workshop/
0 Response to "Educator Workshop Creative Exchange the Metropolitan Museum of Art 6 Ãâ¸ã‘å½ãâ½ã‘â"
Post a Comment