There is also the issue of school field trips.  When I was in school, we
made trips to the local science museum because the trips could be made to
fit school curriculum requirements.  We made only one trip to an art museum,
and that was for a European History class in high school.  There were only
about 20 of us.  The science museum field trips we took in elementary school
would take the whole grade level.  

I've not read or conducted any studies on this, so of course take my
commentary for what it is, but it seems to me that if kids grow up going to
science museums, they're probably more likely to keep going to science
museums than to go to art museums.  Science museums don't seem to mean the
same thing to a lot of the public as other museums do.  Shoot, the science
museum here in Dallas isn't even called a museum.  It's called "The Science
Place," and they get a lot more school group visits than the other five or
six museums/learning centers located in the same park. 

Rachel Roberts
 
Dallas Historical Society
[log in to unmask]
214.421.4500 ext. 110

-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]] On Behalf
Of Indigo Nights
Sent: Thursday, March 03, 2005 9:13 AM
To: [log in to unmask]
Subject: Re: Art Gallery Problem

The dialogue in this thread sort of blows my mind.  In some ways, it seems
that those in art take potshots at science centers because science centers
(since when is it fashionable to demean the concept of teaching children
science?) get visitors and art museums don't.
 The theory offered is that Americans value science and don't value art.

There is a corrollary to this in the MuseNews lists I run.  This particular
group has a 3-1 (plus) ratio of those interested in getting art materials v.
those who want to get news about science.  If the ratio of those interested
in art to those in science is indicative of the job market base, in an
informal survey kind of way, that may explain why there are so many out of
work and/or underpaid museum folk.

I personally love science, but I very much like art, I adore history, and I
certainly find joy in the general types of museums.  So it's not a question
of finding value.  Rather, it's a question of the institutions finding ways
to value and lure in their patrons in a changing society.

Since the 70s (and conceivably, it could be argued the 50s when television
was introduced in American homes), we have become an instant gratification,
lights, bells, and whistles kind of society.  It has been my experience that
science museums do a better job of drawing in the videogame generation.
They offer things to do, and they engage the children who grow up to take
their children.

History museums often have interactive activites. 
Demonstrations and reenactments help to bring the history to life.

But what of art museums?  Unfortunately, in most instances, the art just
lies there and the mindset is do not touch.  There are not the activities
that are offered in the other types of institutions to draw in the
population.  This is the ADHD generation.  Short soundbytes.  If you don't
give them something to stimulate them, they're not going to come.

By the same token, there's a lot of elitism in art. 
The concept is "What's the matter with you, dummy, that you cannot see that
this bowl of fruit really means . . . " and there is no overt attempt in
many instances to bring the audience base in on the secret of what the art
truly represents.  One can stare at the pictures of a book for only so long
before it gets put down.  If there is no dialogue to draw the person in,
they become disengaged.

If art museums want to thrive and survive in these times with this type of
American culture, they need to have activities that include interactive
participation.  Docent lead tours that teach the children and the kids
inside big grownup bodies what the art really means, what the artist did,
how he lived, his personalized life.  Art classes in short bytes with
painting or drawing or clay for the visitors (10 minute sessions to
encourage people to understand and appreciate art).  

Art museums need to get into the classrooms and work hand in hand with
teachers to draw the students in.  A picture of a work of art, really
explained in a humanities type class in high school may go quite far.

My now 7-year old granddaughter loves art.  I took her to the Norton Simon
when she was still toddling.  She wanted to hug the sculptures but soon
learned that it was not allowed.  Security guards looked like they were
going to panic when I would take her and her 18-months older brother.  Oh,
my God, kids.  Their concern soon turned to smiles when they saw these kids
could take Grandma's admonition and stick their hands in their pockets--or
else.  They were encouraged to find and tell me about their favorite piece
of art each time they visited.  They learned about tryptichs and plate halos
and Van Gogh's sadness and lopped off ear and Edgar Degas' beautiful
ballerinas.  They had the benefit of my limited knowledge to tell them this
and, perhaps, that's why they love going there.

But if they have no one to tell them, and the museum doesn't step up, is it
little wonder they would not be valued?

Art institutions can lament all they want.  But the old school stand there
and hang is not going to cut it in this flippety gibbet, zip here, zap there
times. 
Unless they make an effort to bring the art to life, regrettably, they will
be ignored and perhaps have to close.  I've yet to visit an art museum where
the staff attempts to teach the visitors anything.

Perhaps this is an unpopular opinion.  But here, take this glass of cold
water in your face to wake you up to the fact that you've got to change your
ways and learn to engage or sacrifice the art we all so dearly love.



--- Lois Brynes <[log in to unmask]> wrote:

> MOST, not all, "science" museums have become edutainment centers.
> 
> If you go to art museums/galleries in, for example, Paris you will see 
> a HUGE cross section of people. You will also see youngster and 
> pre-schoolers in groups doing their versions of some the "greats."
> 
> Perhaps we should look to HOW our culture values what it does. (Also, 
> how are Boards constituted. ...or, rather, where does funding come
> from.)
> 
> Lois
> 
> Lois Brynes, Principal
> 	DeepTime Associates
> 	P.O. Box 58
> 	Rockport, MA 01966
> 	USA
> [log in to unmask]
> land	978 546-8574
> 


Indigo Nights
[log in to unmask]

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