Posts Tagged 'program'



Urban Armor: Urban Art

Urban Armor is a program for tweens and teens focusing on building identity through discussion and artmaking. This month, we’re offering a graffiti workshop inspired by the Mark Bradford  exhibition.  We’ll look at several works in this incredible show, and talk about the relationship between place and identity on both a personal and communal level.

Mark Bradford, A Truly Rich Man Is One Whose Children Run into His Arms Even When His Hands Are Empty, 2008, Collection of Marguerite Steed Hoffman

What has me excited about this workshop is the opportunity to discuss with participants the idea that not only are we influenced by our environment, we in turn leave our mark on the spaces we inhabit through our presence and actions. For teens, I think this desire to make someplace your own is particularly strong—from their rooms at home, lockers at school, to their personal space (how they dress, for example). This connection between place and identity is fundamental not only to Mark Bradford’s work but to street art as well, which is something we’ll explore during the workshop. Teens will also  have the chance to talk about their own reactions to Bradford’s work in terms of his materials and his use of layers.

Participants will then have the opportunity to make a work of graffiti art using a wide variety of materials that focus on their individual creative strengths.  Some may feel more comfortable with  drawing, others with collage, etc. Regardless of the medium they choose, we’ll emphasize the notion of self-expression through the use of layers. They’ll learn how to make their own stencils and how these can be used to create patterns through repetition in their artwork as well as a way of personalizing their own stuff at home after the workshop.

My sample, Training Wheels/Bull Market, shows layering and stencil processes

Urban Art will be offered Friday, October 21 from 9:30-11:30 p.m. and Saturday, October 29 from 1:00-3:00 p.m.  The October 29 workshop is currently full, and registration is encouraged for the October 21 workshop (drop-ins will be welcome but space is limited and on a first-come, first-served basis).  All supplies will be provided, and the program is free with paid admission to the Museum.

JC Bigornia
Coordinator of Family Experiences

DMA Teacher Workshops: Top Ten Reasons to Attend

10.  Experience something new.

9.  Spend time in special exhibitions.

8.  Share and learn new strategies for teaching and learning with art.

7.  Collect CPE hours.

6.  Explore ideas across cultures and times.

5.  Connect with DMA staff, visiting artists, and scholars.

4.  Gather with educators and dive into rich conversations.

3.  Participate in creative thinking and making.

2.  Take long and close looks at works of art.

1.  See art, teaching, and life in a fresh way.

French Cancan collection, women’s prêt-à-porter, fall/winter 1991-1992, © P. Stable/Jean Paul Gaultier

Scorched Earth, 2006, Mark Bradford, billboard paper, photomechanical reproductions, acrylic gel medium, carbon paper, acrylic paint, bleach, and additional mixed media on canvas, 94 1/2 x 118 inches, collection of Dennis and Debra Scholl, photo: Bruce M. White

Whether it’s your first or fifty-first workshop, we invite you to join us for several teacher workshops occurring this Fall and Winter at the Dallas Museum of Art.  Each workshop begins with an introduction, creative warm-up, and browse of resources.  Gallery experiences include sketching, writing, independent reflection, and group discussion with peer educators, artists, and experts.  K-12 teachers of all disciplines are welcome!

Join us on Saturday, October 22 for Layered Materials, Layered Meanings: Mark Bradford to take a close look at the work of L.A.-based artist Mark Bradford.  Artist Tom Russotti will lead an Art & Games workshop on Saturday, November 12, emphasizing play, problem-solving, and games in relationship to works of art.  Spend a full day exploring Art & Fashion in the exhibition The Fashion World of Jean Paul Gaultier and throughout the DMA collections.  Teachers may register for workshops online.

Visit the DMA this Friday, September 16 for the monthly Late Night.  Educators receive half-price admission ($5) after 5:00 p.m. on September 16 when they show their school I.D.  Drop by the Educator Resource table, talk with staff about upcoming teacher programs, and win door prizes.

Nicole Stutzman
Director of Teaching Programs and Resources

Extra! Extra! Special Go van Gogh program for fifth grade classrooms

This year, Go van Gogh is offering a special program exclusively to fifth grade classrooms during the month of September.  Art of the American Indians is inspired by our special exhibition Art of the American Indians: The Thaw Collection, on view until September 4.  We are excited to offer a program with such strong ties to the fifth grade Social Studies emphasis on  American history.

Horse Mask, c. 1875-1900, Nez Perce or Cayuse, Idaho, Oregon, or Eastern Washington, Thaw Collection, Fennimore Art Museum, photograph by John Bigelow Taylor

Since the exhibition closes soon, we’re extending this offer from September 19-29 only.  Request your program now using our online request form!

Melissa Nelson
Manager of Teaching in the Community

Friday Photos: Provocative Comparisons Part Three

Ecce Homo, c. 1615-1620, Giulio Cesare Procaccini (Italian, 1574-1625), Oil on canvas, Dallas Museum of Art, Gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated

El Hombre, 1953, Rufino Tamayo (Mexican, 1899-1991), Vinyl with pigment on panel, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds

This is the final post in our photo series focused on Provocative Comparisons.  My experiences looking at these two paintings with out-of-town visitors led to powerful conversations about scale, the male figure, religion and beliefs, color, composition, and aspirations.  We wondered about the impact of these works on those who experienced them originally, shortly after their initial creation, and compared our thoughts on this to our own reactions as 21st century viewers.  I invite you to take a long look at Rufino Tamayo’s El Hombre and Procaccini’s Ecce Homo.  What do you see?  What do you think about?  What relationships between the two, if any, resonate with you?

Nicole Stutzman
Director of Teaching Programs and Partnerships

Cruisin' in the Go van Gogh Van

You may have noticed the colorful Go van Gogh® van driving around town and wondered to yourself, “Is that van as fun to ride in as it looks?”  The answer is “Yes!”  Catching a ride in our van is easy: just sign up to be a Go van Gogh volunteer.  Volunteers are trained by Museum staff to lead interactive conversations and art activities based on works of art in the DMA’s collections and special exhibitions.  Taking these programs into classrooms throughout Dallas is a fun and rewarding experience for everyone involved, including the students, teachers, and volunteers.
 

A volunteer teaches fourth graders in a Dallas ISD classroom.

But you don’t have to take it from us that volunteering with Go van Gogh is a wonderful experience.  Kari Laehr, who just completed her first year as a volunteer, recently shared this with us:

“Working with the Dallas Museum of Art’s Go van Gogh Outreach Program has been a great pleasure.  Every program that I have taught has been not only exciting for the students, but for me as well.  There is something extremely special about sharing my passion for art with youngsters, and I consider it a great honor to represent the museum in this way. I was very nervous during my first teaching session; however, having that one “light bulb” moment with a student during the art-making process makes everything worthwhile in the end. In fact, I have heard numerous times in my class, “This is the best day ever! When are you coming back?” I feel that what I am doing with the Go van Gogh Program is making an impact in Dallas classrooms and would highly recommend this experience to others.”

Volunteers discuss a work of art during training.

Afterward, they perform a short skit inspired by the work of art.

Do volunteers need to have teaching experience?  No.  Do they need to be art history experts?  Not at all.  The two primary requirements for our Go van Gogh volunteers are (1) an interest in sharing works of art with students in grades 1-6, and (2) a commitment to attend volunteer training at the Museum and present programs in Dallas schools during weekday mornings.

If you are interested in volunteering, please complete and return the volunteer application by Friday, August 5, 2011.  Help us spread the word to any friends who may be interested as well.  You can also contact me with questions about the programs at 214.922.1230 or MNelson@DallasMuseumofArt.org

I look forward to hearing from you!

Melissa Nelson
Manager of Teaching in the Community

Friday Photos: Teens Only!

Coming soon to the Dallas Museum of Art…URBAN ARMOR: Building Identity through Art-Making, an exclusive program specially designed for teens.

Ceremonial Mask, A.D. 900-1100, South America: Peru, Sican Culture, Gold, copper, and paint, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

MEET.  RELATE.  INVESTIGATE.
Look at hidden gems in the Museum’s collection.  Then, get your creativity on with unique projects using advanced techniques from movie making to screen printing your own T-Shirts and posters inspired by the Museum’s collection.  All experience levels are encouraged and welcome.  URBAN ARMOR programs will start in June and run through August, every Thursday from 1:30 – 2:30 p.m.  For more information, call 214-922-1822.

Nicole Stutzman
Director of Teaching Programs and Partnerships

Community Connection: Combining Two Passions

One of the great things about working with volunteers is the opportunity to meet people with a wide range of interests, experiences, and passions.  Last fall, I interviewed Deborah Harvey, one of our Go van Gogh volunteers.  I am pleased to introduce Jennifer McNabb, another Go van Gogh volunteer, who has managed to combine two of her passions through our outreach program.  
 
Tell us a little about yourself.

I’m British, and I’ve been in the U.S. for twenty years, in Dallas for nineteen years.  I’m a longtime visitor to the DMA.   When my work situation opened up seven years ago, I was looking for a way to volunteer in the arts.  I have a background in community arts from the 1980’s in England, when I helped set up and run a group studio for artists called Red Herring Studios.  We took over derelict buildings that were to be demolished, converted the buildings to studio spaces, and had an exhibition space too.  Red Herring put visual arts on the map in Brighton and has given birth to other fabulous organizations like Fabrica.  

Jennifer with her father and sister at Chesworth Studios in West Sussex, England.

What do you like most about Dallas?

I think what I like most about Dallas is the very vivid cultural life here.  We have great museums (the Nasher Sculpture Center, the DMA, The Crow Collection of Asian Art), and I love the way the Arts District has been developing with the AT&T Performing Arts Center and the expansion of Booker T. Washington High School.  I don’t come from a place where you have zoning; in London, these places are all in different parts. Also, I love the fact that Ft. Worth is just a few miles away with another bunch of fabulous museums. Although Dallas is a town that tends to be on the map business-wise, it is also on the map culturally.  I live in Oak Cliff, so it’s very easy to get to these places.

Tell us about your relationship with the DMA.

I started out by coming to your office and asking what I can do to volunteer with the DMA.  At the time, I couldn’t give the amount of time necessary for the docent program, but I did like the idea of the Go van Gogh program.  I have a background in teaching, and I thought it would be nice to get back into the classroom.  I like that the DMA has this type of in-reach and does such a good job at taking art into the classroom, getting kids excited about it, and hopefully encouraging teachers to take kids to the museum more.  Teaching is something I feel passionate about along with the visual arts – I come from a family of artists and I like the fact that I can go into the classroom and do all the fun stuff, and the kids love me for it. 

I’d been doing Go van Gogh for three or four years when a friend said to me one day, “You should come to this meeting about Resolana and get involved with this organization that provides programming for incarcerated women.”  I am also passionate about prison reform.  When I saw the creativity workshops they did, I thought yes, this combines two things I feel strongly about.  I got involved almost immediately.  After I had been to the jail a few times, I spoke with you and Amy about the possibility of the DMA doing something in partnership with Resolana.  I was looking for ways I could take the DMA into the jail, and you suggested trying some of the programs we teach in the schools. 

Jennifer leads the Arts of Mexico Go van Gogh program with Resolana participants.

What are the greatest benefits and challenges to presenting Resolana programs?

I was very aware I was teaching a different population, but in some respects they’re kind of similar.  Being in the jail frees them up, and they are very good about trying anything you suggest.  They don’t have self-editing about what is right and what is wrong in a class setting.  The women are willing to try most things; I don’t get the same resistance I might get from sixth-grade students.  The difference is, these are adults, and I didn’t want to make them feel I was doing baby stuff with them.  I had to adapt the programs because certain supplies are not allowed in the jail.  I also tried to get the discussion portion much more pitched toward their level.  I would not lead too much, and tried to give them space.  I am also in the Master of Liberal Studies program at SMU, and I took a class with Carmen Smith, who worked at the DMA for twelve years before working at the Meadows Museum.  I learned a number of techniques for talking about art with groups of people that museum educators use and started to use some of those techniques.  What I learned about in class went straight to the jail, and I saw a remarkable difference in the quality of the discussions. 

What is capturing your time and attention at the moment?

I’m always reading something fascinating, but work right now is capturing a lot time and attention.  We now have a pod in the jail dedicated to women interested in attending Resolana classes – they all live together.  It means we have doubled the number of women we see every week, so I’m trying to increase our number of volunteers as quickly as I can.  I am also trying to develop a program to train volunteers, using Go van Gogh as a model.  The Meadows Museum has donated their studio for training sessions. That takes up a lot of my time.

My other big passion is learning. I get to take classes in all kinds of things in the Liberal Studies program. I’m knee-deep in anthropology at the moment, and I’m writing a paper about systems of value in the U.S. and in the western world in general, and how that compares to other value systems when looking at works of art.

Melissa Nelson
Manager of Teaching in the Community

Community Connection: Our Friends and Neighbors

Dear loyal blog readers,

We have a new summer blog post schedule.  Look for new posts on Wednesdays and Fridays.  Have a fabulous summer!

The opening of the AT&T Performing Arts Center last fall brought our friends at the Dallas Theater Center (DTC) to the ever-growing Dallas Arts District.  Having comfortably settled into their new home at the Dee and Charles Wyly Theatre, the DTC has developed programs and collaborations as innovative as the building itself.  Lisa Holland, Director of Education and Community Programs at the DTC, gives us a peek behind the scenes.

Tell us about your new home at the Wyly Theatre.
The Wyly Theatre is remarkable – there’s not another theater like it in the entire world.  The flexibility that it affords is unparalleled and I think that we, as the primary tenants, are going to learn about this building as time goes on.  I think the possibilities are going to be limitless in this building.  I also think our patrons are going to be the lucky beneficiaries of seeing what this building can do.  It’s like a giant transformer.  What that provides to the patron in terms of the audience to artist relationship is going to be powerful and immediate. There’s nothing like it.  

Also, the synergy between other organizations in the Arts District and the potential collaborations that exist now is so thrilling.  I think about how we can collaborate with our friends and family at the Arts District in ways that will be really engaging and exciting.  To walk down the street and see who you’ll run into, or walk down the street and have a meeting at the DMA – it’s exciting. 

Do you ever consider integrating or thinking about works of art related to your programs?
Absolutely.  In the past, we’ve incorporated a visual arts component in our SummerStage program.  I believe that whatever kind of artist you are, you need to “feed your hopper”.  In other words, you pour into yourself different experiences, whether it’s a trip to the zoo or going for a walk and looking at leaves.  You never know what will inform your work as an artist.  

Also, we deal with a lot of visual arts formal elements like color, line, and composition in the theater.  And, we have had collaborative events with the DMA in the past, such as sending artists to the DMA and working with Arts & Letters Live.

Tell us about the Shannon and Ted Skokos Learning Lab, your new partnership with Booker T. Washington High School for the Performing and Visual Arts.
It was brand new this year, and it was a resounding mutual success. Last spring, we auditioned the rising juniors and from that group chose eighteen seniors.  The Learning Lab has three components.  Kevin Moriarty (DTC Artistic Director), Charlton Gavitt (Booker T. Washington High School Theater Cluster Faculty), and I team-taught the class component, which occurred every other day, all year long.  The second component is a twenty-hour internship that students complete outside of class hours.  The final component is a performance project, in which we paired the students with our professional acting company, and they performed ten scenes in the Wyly Theatre with the professional actors.  The students also came to every single show we produced this year, free of charge.  This is a super exciting program, and I don’t think anywhere else has that sort of integrated relationship between a school and a professional theater with that kind of access.  The program is a great example of the kind of collaboration that can happen in the Arts District – it was so simple to walk across the street, teach, and walk back to my office.

How did you come to your position as Director of Education & Community Programs?
I grew up in the theater.  My parents took me to theater and I’ve been a theater student my whole life.  After I earned my graduate degree in directing, I was hired as one of two artistic directing interns at the Dallas Theater Center thirteen years ago.  I was hired to work in the artistic office after my internship year, and I basically never left.  I defected into the education department about halfway through my tenure, but that made sense because my undergraduate degree is in theater education.

What program/performance are you most looking forward to this summer?
We have a program called SUPERStage (SummerStage’s alter ego), where we have theater day camps for kids ages 4-14. I’m also looking forward to our summer production It’s a Bird…It’s a Plane…It’s SupermanI’m so excited about having a mainstage show running concurrently with our SUPERtage program.  Our SUPERStage students will have access to what we do in a primary way, and we’re going to enfold into the curriculum what is happening on stage so it becomes a learning lab of sorts.  It’s going to be awesome.  Superman – what can you say – there’s flying  –  it’s Superman!

Melissa Nelson
Manager of Teaching in the Community

Looking Back and Thinking Ahead

It’s hard to believe that the 2009-2010 school year is already over.  We will have our last Museum visits and Go van Gogh trips tomorrow, and we wanted to take this opportunity to share some of the highlights of the year with you.

Go van Gogh Classroom Outreach
Volunteers are at the core of our programs, and without their invaluable assistance, we would not be able to reach the number of students we do each year.  A great big thanks to:

  • all of our Dallas volunteers.  We visited 406 1st-6th grade classrooms in Dallas, seeing over 8,330 students.  
  •  all of our volunteers outside Dallas.  We presented a total of over 240 programs to 4,800 students in schools outside Dallas city limits.  These are especially impressive numbers as each and every program that takes place outside Dallas is scheduled, coordinated, taught, and otherwise made possible by volunteers. 

Go van Gogh volunteers work with local artist Ann Marie Newman

The year also brought new initiatives for the Go van Gogh program:

Go van Gogh volunteers work with local artist Ann Marie Newman

All in all, it was a great year.  Go van Gogh volunteers, we appreciate your hard work and dedication to bringing fun and meaningful art experiences to North Texas students.  Teachers, we thank you for bringing Go van Gogh into your classrooms.

Museum Visits

Our schedule has been jam-packed with Museum visits all year.  Thank you to the students and teachers who visited the Museum, and thank you to our docents who make all of these tours possible. 

Docent Denise Ford welcomes her group to the DMA.

We had many highlights during the year, including:

  • providing docent-guided and self-guided Museum visits for 51,821 K-12 and higher education students.
  • sharing several wonderful exhibitions with students.  We were able to make works of art come alive in All the World’s a Stage, and we transported students to 19th century Normandy in The Lens of Impressionism
  • continuing relationships with several school districts.  This was the third year of our partnership with Dallas ISD where every 4th grader comes to the Museum for a docent-guided visit.  We welcomed 11,535 DISD 4th graders for A Looking Journey tours this year, and we can’t wait to see DISD’s 4th graders again next year.

4th grade students examine the Pair of Lokapalas

______________________________________________________

So there you have it, the highlights of thirty-two weeks of programs for the 2009-2010 school year.  The 2010-2011 school year will be here before we know it, so we encourage you to start thinking about your DMA and Go van Gogh visits now.  Be on the lookout for our postcard this summer, reminding you to visit our Web site on August 1st to schedule your programs.  Have a wonderful summer!

Amy Copeland and Shannon Karol
Coordinators of Go van Gogh Outreach and Museum Visits

Community Connection: Bringing the Very Best

Dave Herman has partnered with the DMA’s Education divison in a variety of ways.   As President and Creative Director of Preservation LINK, Inc., Dave initiated a partnership with the DMA that resulted in an annual exhibition of photographs by participants in Preservation LINK’s Point of View program.  He was invited to serve on an advisory board for the development of a new type of Go van Gogh outreach program, based on his perspective as a professional photographer and his teaching experiences with students.  Dave also led several workshops as the February Visiting Artist in the Center for Creative Connections as well as a Summer Art Camp during 2009.  In summary, we enjoy partnering with Dave and take every opportunity to work with him. 

Dave Herman coaches a student through an art project.

You describe yourself as a visual sociologist.  Can you tell us what that means to you?

Visual sociology is, in a lot of ways, documentary in nature. It is almost as if you put out a hypothesis or investigative question, and then you document what you find out and share some of those answers visually. It lends itself to a different kind of attention, because you’re trying to put pieces of puzzles together and understand what that all looks like.  Visual sociology is also about how people interact with each other and how they respond to things.

Was there a defining experience or person in your life that led you to where you are today?

I first associate my mom and dad with helping to shape me and my values.  A lot of what I do is based on my background and what I believe in.  My work with students through Preservation LINK comes from a passion to help kids understand themselves, understand their potential, and to be confident that they can reach their goals. One thing that motivates me now, even as an artist, is that I didn’t necessarily have that growing up.  This is something really important – for students to have guidance and the opportunity to grow, to have ownership, and to eventually have a sense of “I’ve got this now”.

Over the six years that I’ve known you, I’ve witnessed exciting growth with Preservation LINK.  Do you have any advice for others who are interested in starting a non-profit organization with the goal of educating youth through literacy, art, and technology?

Budding photographers

I would say the first thing as an initiator, dealing with kids, is to make sure you’re reaching for the sky. Make sure that you’re bringing the very best to young folks. I say that because sometimes when we talk about equipment, for instance, some people say “let’s just get this (lesser value) equipment because they’re kids and they don’t need a big camera”. In reality, that is what they need. For them to grab onto something real at a certain level, you’re able to push your message and your lesson a little bit further.

Also, believe in your vision. Know how or learn how to manage it.

How does research and evaluation factor into your program development and implementation?

In a big way. Evaluation and research impacts and informs how we move forward.  It informs how we deliver programs and how we assess our accomplishments.  We are able to see what the impacts of our programs are on the community, students, parents, and the adults that supports kids’ learning. We wouldn’t be the same organization that we are now if it wasn’t for the evaluation and research that is a part of Preservation LINK.

What do you most hope students who participate in your programs will walk away with from their experiences?

Students learn about the history of photography during a Preservation LINK program.

I want the students to know that people care about who they are, what they learn, and what they want to become.  I hope they’re motivated to take even more ownership in their lives.

See photographs taken by elementary students during Presevation LINK’s Point of View Program at the Dallas Museum of Art.  The exhibition, titled Through the Eyes of Our Children: Something Beautiful, will be on view from May 14-August 29 on the M2 level of the Museum, adjacent to the Mayer Library.  View images from past Preservation LINK programs here.


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