Final presentation

SELF-AWARENESS THROUGH ART MUSEUM AS A RESOURCE – A&HA 5804

Wiggins & McTighe (2005) We cannot teach to learn until we promote students to have selfknowledge by showing metacognitive awareness, using productive habits of mind, and reflecting on the meaning of the learning and experience.

“What Peter says about John, says more about Peter that about John”

LEARNING GOAL The main goal of the resource is to enhance in the learners the awareness of their own process of learning through art, how we construct meaning when facing reality.

In this process of self-awareness is important that the learner understand that he or she is not a passive spectator but a player immerse in an art creation. “Hololeptic contemplation, thus, links the experience of art to the wider demands of reflective life and suggests how, to a certain kind of person, the experience of art could be of prime private importance�

(Armstrong, 2000). The art is not something in front of the observer, the observer is somebody inside the artist dynamic.

CONTEXT The target audience are high school students (~ 13 to 14 years old) that stage when they began to learn about their identity and grow in maturity. Students at this age acquire self-certainty, seeks for ideals to live by and define themselves. While there are different personalities without conflict, art can have different interpretations without problems either. “Bear in mind that multiple interpretations, even contradictory ones, work together to illuminate a work� (Hubard, 2007).

MUSEO DEL BARRIO

METROPOLITAN MUSEUM OF ART

THE MUSEUM OF ART AND DESIGN

BACKGROUND INFO Museo del Barrio Who was Antonio Lopez?

How was his origin express in the artwork?

Metropolitan Museum of Art What elements of Religion, Colonization, and Natural Resources you can track in this art-piece?

The Museum of Art and Design What are the values presented in this exhibit?

Why the author tries to replicate a natural habitat through materials like plastic?

• Description Distinguish factual information from interpretive information.

• Interpretation ”Works of art and artifacts become sources for questions; issues in society and within one's self are seen as places of wonder; artmaking is perceived as an opportunity to wrestle with the imponderable elements of our lives and an occasion to challenge the mysteries of ourselves and our world” (Bolin, 1996).

• Contrast “We implicitly promise visitors that our knowledge will guide their looking, and that, at the same time, we will respect the knowledge and life experience that they bring with them” (Burnham, 2005).

• Awareness “By your insistence on multiple answers to the same question, you slowly convince kids that there is no one right answer. There are as many answers as there are minds in the room, and you’re desperately interested in all of them” (Schmidt, 2004).

References Armstrong, J. (2000). Move closer: An intimate philosophy of Art (pp. 81-105). New York: Farrar, Straus and Giroux.

Bolin, P. (1996). We are what we ask. Art Education, 49 (5), 6-10.

Burnham, R., & Kai-Kee, E. (2005). The art of teaching in the museum. The Journal of Aesthetic Education, 39(1), 65-76.

Hubard, O. (2007). Productive information: Contextual knowledge in Art museum education. Art Education, 60 (4), 17-23.

Hubard, O. (2007). Complete engagement: Embodied response in Art museum education. Art Education, 60 (6), 46-53.

Lopez, A. (1995). Antonio 60-70-80: Three Decades of Fashion Illustration. Thames and Hudson.

Schmidt, L. (2004). Secret #5: Great teachers don’t take no (or yes) for an answer. Teaching by asking instead of telling.

In Classroom Confidential: The 12 Secrets of Great Teachers (pp. 91-112). Portsmouth: Heinemann.

Shuh, J. H. (1999). Teaching yourself to teach with objects. The educational role of the museum, 2, 80-91.

Simon, N. (2016). The Art of Relevance. Museum 2.0. Retrieved October 14, 2016 from http://www.artofrelevance.org/read-online/ Wiggins, G. P., & McTighe, J. (2005). Understanding by design. Ascd.