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Lesson Plans

Re: gallery visits

[ Thread ][ Subject ][ Author ][ Date ]
Ben Schasfoort (Ben.Schasfoort)
Sun, 23 Nov 1997 11:51:56 +0100

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A good idea is always worth to share. I like it and especially the way you
brought it. Short and clear. The idea of giving students a special booklet
and let them make one page for each visit is perfect also from didactical
viewpoint. You (whoever you are) don't mind I make a note about it for
Dutch art teachers in our national Art magazine?

At 22:14 22-11-1997 -0800, you wrote:
>I am fortunate enough to live close enough to New York City to be able
>to take my students there quite frequently. I have chosen to bring them
>to SOHO, a "gallery infested" area of NYC that is user friendly. I have
>found that bringing students to galleries, where the work is different
>from gallery to gallery (there are over 50 galleries in about a 6 block
>area), students get "engaged" in the process of discussion quite easily.
>Why? because no one has "deemed" the work "important" as when they visit
>the Metropolitan Museum of Art, or the Whitney, Frick, or Museum of
>Modern Art. In SOHO the work changes monthly and from gallery to
>gallery. One gallery, is known for its photorealism, where another
>gallery may choose to exhibit sculpture, where as one gallery has a
>permanent installation called "The Earth Room" an apartment painted
>white, filled with black rich soil. Many times my students have met the
>artist on the day the exhibits were being hung, and have asked questions
>about the work and the artist's intent....My students carry a booklet
>that I give them...On each page they write which gallery they were in,
>who was the featured artist, do a rough sketch of one of the works, and
>then write about the piece...They must do 10 such pages. Then when we
>return to school they discuss the artists and their work...only to find
>out that they may disagree on intent, whether they like the work,
>etc...To a student, however, they are not afraid to discuss the work,
>because in some way by discussing the works of "famous-important"
>artists they feel somehow intimidated, as if they couldn't add to the
>historical and common knowledge discourse already voiced, but with "up
>and coming" artists, they feel freer to discuss the work, and somehow
>feel closer and more connected to the process and the artist...
>These discussions then lead to greater openess to discussion the Van
>Gogh's, Bernini's, and Rembrandt's in the "legitimate" museums.
>On a personal haven't "lived" until you run through SOHO with
>45 of your "closest" friends, arriving in a yellow limosine....(we ARE
>definitely a site!)
>San D
Ben Schasfoort, nl

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