A recent article in PLOS ONE analyzed data from 18 major museums to find that 85% of artists are white and 87% are men. [PLOS ONE]
A google spreadsheet has been circulating throughout the museum world allowing people to share salary figures and demographics anonymously. [artnews]
RAAMP Coffee Gathering: Engaging Educators in Art Museum Galleries
Our latest Coffee Gathering was with Dana Carlisle Kletchka, an Assistant Professor of Art Museum Education in the Department of Arts Administration, Education, and Policy at The Ohio State University. Her research areas include post-critical art museum education theory; professional development for PreK–12 teachers in art museum contexts; the use of social media and digital technologies on interpretation and engagement in the art museum; and the professional positionality of art museum educators within the profound paradigmatic shift of art museums over the last 40 years. In 2015, she was awarded the National Art Education Association’s Art Educator of the Year for the Museum Education division.
Over the past 20 years, she held professional education positions as Curator of Education at the Palmer Museum of Art at The Pennsylvania State University, as an Affiliate Assistant Professor in the School of Visual Arts, and as co-director of the Summer Institute of Contemporary Art (SICA), a joint project of SoVA and the Palmer Museum of Art. She was also the Coordinator of Docent and Interpretive Programs at The Philbrook Museum of Art in Tulsa, OK, and a Curatorial Intern in Art Museum Education at the Spencer Museum of Art, University of Kansas, Lawrence, KS.
She is the co-editor and co-author of the recently published book Professional Development in Art Museums: Strategies of Engagement Through Contemporary Art with B. Stephen Carpenter, II.
Professional Development in Art Museums: Strategies of Engagement Through Contemporary Art explores the research and practice of professional development for preK-12 teachers in art museums, with emphasis on curricular possibilities, conceptual considerations, historical precedents, learner-centered teaching, critical teaching strategies, and communities of practice. Three sections fill this book with examples, strategies, and possibilities for educators interested in enriching teaching and learning in conversation with the art and issues of our times.
In this innovative anthology, co-editors Dana Carlisle Kletchka and B. Stephen Carpenter, II have compiled translations and examinations of theory and practice at the intersection of collaborative professional development, art museums, and contemporary art. To this end, a diverse group of art educators and art museum educators add to a growing body of knowledge about the purposeful reflections and dialogues, inspiring curricula, and innovative pedagogies that inform professional development experiences in art museum contexts.
See LaTanya Autry (@artstuffmatters) on issues of social justice and museums
Art museum education specializations situated in art education programs at major universities and their contacts:
The Ohio State University—Dr. Dana Carlisle Kletchka
The Florida State University—Dr. Pat Villeneuve and Dr. Ann Rowson Love
Teacher’s College at Columbia University—Olga Hubard
University of North Texas—Dr. Laura Evans
Summer Institute on Contemporary Art at Penn State (SICA):
Dr. B. Stephen Carpenter, faculty in charge
Dr. Olivia Gude, former visiting scholar: http://www.saic.edu/profiles/faculty/olivia-gude
Dr. Terry Barrett, former visiting scholar: http://terrybarrettosu.com/
In honor of Women’s History Month, GEMM released a new white paper “Museums as a Pink-Collar Profession: The Consequences and How to Address Them.” Read the paper in full here.
A new survey indicates a slight increase in museum leadership since 2015. [Hyperallergic]
Arizona State University Art Museum has announced that it has secured a $125,000 grant through the Art for Justice Fund. This grant will allow the museum to continue to fight for meaningful and lasting criminal justice reform by conducting research for an exhibition titled “Undoing Time: A Visual History of Incarceration” and related public programs by the museum’s director, Miki Garcia, and curators Heather Sealy Lineberry and Julio Cesar Morales. (ASU)
To read more about the Art for Justice Fund and the 2018 fall recipients: https://artforjusticefund.org/2018-fall-grant-recipients-announced/
In the University of Southern Maine Gallery exhibition, OTHERED: Displaced from Malaga, artist Daniel Minter tells the story of the 1911 forced removal of a interracial fishing community on Maine’s Malaga Island in Phippsburg.
According to the Hyperallergic article, “For the past 10 years, Portland-based painter, children’s book author, and illustrator Daniel Minter has raised awareness of what happened on Malaga. He took part in archaeological digs and designed an information kiosk for people visiting the island. For his seven-week residency with the Department of Art at the University of Southern Maine this past fall, Minter created a series of 11 acrylic paintings, each one measuring 60 by 20 inches, that further his exploration of Malaga.”(Hyperallergic)
Image above: Installation view
A group of students and faculty from RISD and Brown University gathered at the RISD Museum on November 30 to pressure the museum to return stolen bronzes from the Kingdom of Benin and to decolonize the collection.
In response to the protest, the RISD Museum told Hyperallergic:
“The RISD Museum recognizes the looted status of the Head of a King (Oba) made by Benin royal artists in West Africa which was given to the collection in 1939. British forces sacked the Benin kingdom in 1897 in a campaign known as the Benin Punitive Expedition. Cities were burned; the reigning king, Oba Ovonranwmen, was forced into exile; and works of art and other treasures were looted. Soon after, museums and individuals throughout Europe and the United States were collecting Benin bronzes. We have initiated a process of communication with Oba Ewuare II and the National Commission for Museums and Monuments in Nigeria which has been established to address this very issue. We see this as an opportunity to confront the histories of colonialism that exist within museum collections.” (Hyperallergic)
A Manual for Art Freedom is a flip book that features tips for recognizing and navigating the many strategies used to silence creative expression. On its flip side and printed upside-down is A Manual for Art Censorship, a tongue-in-cheek guide that takes a look inside the mind of the censor while offering “how to” tips for banning and silencing “offensive” speech. (NCAC)