Varieties
of groups, through request, schedule tours of exhibitions. Tour
times are arranged for the convenience of the group. The Curator
of Education coordinates speakers/facilitators for these groups
or takes personal responsibility for speaking to or facilitating
groups. Generally talks to groups are meant to impart information
about exhibition artwork and understanding of concepts intrinsic
to the artwork.
Tours are offered to community groups, university groups, and
elementary and secondary school groups. The Museum tailors tours
to the group rather than offering canned talks. Talks to elementary
and secondary school groups emphasize interaction with students,
either through discussion, written activities, or various other
types of activities, including art activities.
Contact
Viki Thompson Wylder, the Curator of Education for tour reservations:
(850) 644-1299 or vwylder@fsu.edu.
Special
Projects:
§
As a part of the Visions
of the North Florida Environment project/exhibition (May
3 - June 10 2002) Viki Thompson Wylder (MoFA Curator of Education),
Fran Kautz (Buck Lake Elementary Art Teacher), Sonia McDowell
(Buck Lake Elementary Art Teacher) and Todd Bertolaet (FAMU
Professor, Graphic Communication/Photography). prepared and
delivered a PowerPoint presentation for the National Art Education
Association Annual Conference (April 4-8, 2003; Minneapolis)
and the Florida Art Education Association Annual Conference
(October 16-19, 2003; Orlando). The presentation called
Real Art: Teachers as Curators can be viewed by clicking
here.
§
As a part of the In Print: The Language of Art project/exhibition
(May 12 - June 6, 2003) Viki Thompson Wylder (MoFA Curator of
Education), Julie Childers (Lawton Chiles High School Graphic
Design & Humanities Instructor), Leslie Cohen (Lawton Chiles
High School Art Instructor) and Linda Johnson (Deerlake Middle
School Art Instructor) prepared and delivered a PowerPoint presentation
for the Florida Art Education Association Annual Conference
(October 16-19, 2003; Orlando) and the National Art Education
Association Annual Conference (April 16-20, 2004; Denver). The
NAEA presentation recalled here was titled, Break the Mold:
The Exhibition Approach. It can be viewed by clicking
here.
§
Sara Chang, the ESOL (English as a Second Language) teacher
at Pineview Elementary in Tallahassee, created this PowerPoint
for an international conference, the 40th Annual TESOL Convention.
In the presentation, she highlights the role the visual arts
play in her instruction, particularly through a focus on four
projects undertaken under the auspices of an FSU Museum/Pineview
partnership agreement. Each of these projects, Haiku and
Poetry, In Print: The Language of Art, Poetry
and Pottery and The Road to America were developed
in conjunction with FSU Museum programs. Ms. Chang includes
images of her students work on display at the University. It
can be view by clicking here.
§
The Family Experience was conceived through a marriage
of two discrete fields of study -- museum education and art
therapy. The exhibition was atypical. It was an experiment in
using visual stimuli as a means of understanding personal and
interpersonal psychological concepts and relationships. It encompassed
a cross-pollination of ideas and purposes, from fields as diverse
as the arts and humanities, the social sciences, and such arenas
as anthropology and the law.
The
Family Experience as a project not only included the exhibition
but also a pilot project for special needs visitors, a handbook
and workshop for special needs professionals such as art therapists,
a catalogue, tours for special needs groups and others, a parallel
exhibition by special needs groups titled Reflections on
the Family Experience, a University class based on the
exhibition, a lecture series, and a Teacher Institute in part
based on the exhibition (Institute was offered in conjunction
with the John and Mable Ringling Museum of Art and the Mary
Brogan Museum of Art and Science).
The
Family Experience project was organized by the Florida
State University Museum of Fine Arts with assistance from Houghton
Mifflin, the Florida State University Women's Studies Program,
the Thompson Family, the Florida State University Art Education
Department and State Farm Insurance. Grant assistance was provided
by: the State of Florida, Department of State, Division of Cultural
Affairs, Florida Arts Council, and the National Endowment for
the Arts; the Leon County Cultural Development Program; and
the Communiversity Partnership of the City of Tallahassee Cultural
Services, Cultural Resources Commission.
To
view PowerPoint presentation with images of the exhibition and
related activities click here.
The
Family Experience: Deconstruction and Reconstruction exhibition
was accompanied by a public lecture series. From that series
six of the PowerPoint presentations are available for viewing.
To
view the presentation on teachers' use of museums for therapeutic
purposes by Dr. Marcia L. Rosal, FSU Art Education chair,
on May 9th and at the "Exploring American Values: The
Family and the Environment" Teacher Institute on June
1st click here.
To
view the presentation by FSU Department of Anthropology professor,
Dr. Elizabeth Peters, Kinship and Family in Other Animals:
A Cross-Species Perspective, delivered on Tuesday, May 16th
during the "What Makes a Family?" panel presentation
click here.
To
view the presentation by Dr. Carolyn Brown Treadon, ATR-BC,
LMHC, Finding Personal Meaning in Art: Honoring the Museum Visitor,
delivered on Thursday May 18th during the "Family Art Therapy
Treatment" panel presentation and at the "Exploring
American Values: The Family and the Environment" Teacher
Institute on June 1st click here.
To view the presentation on the aging of family members by Amity
K. Moncrief from the Sterling House that was delivered on May
23rd click here.
To
view the presentation on family violence by Sarrah Conn from
the Claude Pepper Center, FSU that was delivered on June 1st
click here.
To
view the presentation on family art therapy by Carolyn Brown
Treadon, Dina Ricco, and Mindy Moore delivered on June 8th click
here.
To
view the presentation by FSU Department of History professor,
Dr. Suzanne Sinke, Historical Change in Marriage and Family,
delivered on Tuesday, June 13th click here.
Our volunteers
are responsible for developing "Students Question
Students". These questions/topics are geared towards
advanced high school and university level students to
promote indepth discussion and for possible use within
the classroom setting. For
archived QUESTIONS click here
By Alyse Sedley, Ashley Hickman, and Kelly Paul
1.
1. The American Heritage Dictionary defines drawing as “the art of representing objects or forms on a surface chiefly by means of lines.” Find one work in the exhibition that you feel keeps to this definition. Find at least two works that you feel break that definition. Is line an important element in those works? How do the artists in Running Around the Pool use line in various ways? Is line always 2-dimensional? How does the function of line change in the 3-dimensional works?
 2. Many of the works in the exhibition note an “equivalency between visual and linguistic elements,” where words are to writers as drawing is to artists. How do word and image work together in Contemporary Drawing? Give at least 2 examples of artists in Running Around the Pool that use word and image together. Does their use of both linguistic and aesthetic elements reinforce their message or obscure it? Why?
3. Several of the artists in Running Around the Pool challenge the separation between representation and abstraction by incorporating both visual categories. Some of the artists go so far as to categorize their works as “abstract representations,” challenging historical conventions of artistic movements and locating themselves within both modernist and post-modernist traditions. Julie Mehretu is one of those artists. Look at her Untitled works. How does her use of the drawing medium allow or encourage the blurring of realism and abstraction? Can you find other examples of such blurring in Running Around the Pool?
4. Some artistic movements that are represented in the exhibition are: Dada, Surrealism, Abstract Expressionism, Pop Art, California Funk, Chicago Imagism, Minimalism, and Conceptual Art. How do the artists cross-examine and combine these movements in their work to challenge the conventions of art history?
5. Social issues are present in many of the pieces in Running Around the Pool. What is it about drawing, as a medium, that seemingly lends itself to social or political commentary? Do you see this in the exhibition? Give examples. How does a loose translation of social issues into visual form affect the address of those issues? Does it aid or weaken the idea?
6. Drawing is historically seen as preparation, showing potential for what a finished work of art could be. Where do you see the idea of potential in this exhibition? Do any of the works in the show look unfinished? Why? In Running Around the Pool do the works still only show potential, or is there something more? What does this say about how the view of drawing is changing?
7.
The graffiti artists Swoon and Barry McGee draw from “raw” inspirations, such as billboard alterations, poster campaigns, and found surfaces, to create art. Despite their classical training, their affiliation with “raw” media alludes to the introduction of the “outsider artist” into the world of fine arts. What preconceptions accompany the term “raw”? Do these notions alter our acknowledgement of drawing as a fine art? Can “outsider art” be considered “fine art”? Does the inclusion of more primitive or “raw” art-forms diversify or threaten our understanding of artistic progression? 
8.
Look at Untitled (woman holding flower) by Clare Rojas. How does the juxtaposition of fantasy and reality, natural and unnatural, include the viewer in the work? What kind of relationship does this work foster between the viewer and the artist? How often do our own experiences alter our perception of a work of art—does this connection jeopardize or enhance the integrity of an art form?
9.
Running Around the Pool shows a correlation with popular culture. The Pop Art movement occurred in America in the Late 1950’s, and was characterized by the use of the forms of popular culture such as comic books and advertisements. Raymond Pettibon uses popular styles as a “universal means of expression.” How else does the connection to the traditions of Pop Art manifest itself in the exhibition and aid our interpretation of Contemporary Drawing? How does the work of these artists differ from the work of Pop Art artists? How is it similar?
10. The work of Louis Bourgeois has been called “ambiguous” because of her use of universal themes. Look at her piece Untitled. Her forms look familiar yet remain personal and unique to the perception of each viewer. How does such an open interpretation of art affect the way it is analyzed? How does it affect the relationship between artist and viewer?
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