The Democratization of Art: A Contextual Approach

ABSTRACT

Publicly funded museums and art galleries have been called upon to demonstrate their worth as nodes of social inclusion and facilitators of social change. Flagship galleries have been constructed to foster urban regeneration in part aimed at social inclusivity and transformation. A new museology has emerged that is perceived to be intrinsically more democratic for visitors. This focus on the democratization of art in academia and cultural policy is not matched by a focus on robust empirical research. There are few studies that demonstrate successful democratization and little work that considers methodological issues. This article responds to critiques leveled at three conceptions of the democratization of art to develop a fourth conception—the contextual approach. I argue that collecting visitor sociodemographic data is meaningful only in the context of an institution's social construction and the role of art in the everyday lives of visitors and nonvisitors. Understanding that a good life is possible without engagement with high culture must be part of a democratization agenda.     

Hands-On,Shoes-Off: Multisensory Tools Enhance Family Engagement Within an Art Museum

Families with young children typically struggle to engage with traditional art museum environments. This research examined the impact of multisensory tools on family engagement within Mathaf: Arab Museum of Modern Art, Qatar. Sixty families with at least one child aged 0–11 were observed during two tasks. One task required participants to look at a series of paintings to select their favorite. In another task, families were given a toolkit of multisensory items to facilitate interaction with a painting. A semi-structured observational method produced quantitative and qualitative data about participant engagement and intergenerational interaction. Self-rating scores of task enjoyment were also collected. Results indicate that multisensory tools enhance family engagement with museums, artworks, and each other. Results also suggest that word-based interpretation was not necessary. We consider the potential implications of these findings in relation to family programming within art museums and museums more generally.     

Art as Orientation

What is it that we lack in everyday life that causes us to value art so highly? This article argues that (almost) all values are to be understood in terms of a needs‐satisfaction system, and hence that the value of art can be understood only with reference to the state of the appreciator prior to engagement with the artwork. Aesthetic appreciation can be analysed as a process, which can be described in empirically based psychological terms, leading to a functional view of aesthetic experience as potentially enhancing the individual's orientation at sensory, cognitive, and interpersonal levels; our motivation is a special form of pleasure. Various objections are then considered, with particular attention to the role of pleasure in connection with tragedy; the relation of art to related cultural pursuits is also briefly indicated.     

What Counts as Science? Families’ Perceptions of Science in a Natural History Museum

ABSTRACT

Natural history museums open their doors to millions of family visitors each year and are considered to have a valuable role to play in engaging these families with science. Yet little is known about whether or in what way families perceive such institutions to be connected with science. The current study set out to explore such perceptions via interviews with family visitors to a large natural history museum. Analyses reflected that families’ perceptions of the museum and of their own engagement with science were intertwined with their definitions and impressions of science. For these families, perceptions of the museum as fun, interesting, and educational at times counteracted impressions of it as a science-y institution. Moreover, some families also did not consider natural history to count as science, which further contributed to a reluctance to categorize the museum as science-y. Although such perceptions may challenge how natural history museums would like to portray themselves, they also represent an opportunity to broaden visitors’ definitions and images of science.     

Art from the Heart

Abstract

This article describes art therapy techniques grounded in a relational-cultural approach used in a middle school group for girls. Art from the Heart is an interactive preventive intervention designed to facilitate increased connections among group members. It is intended to bring together multiethnic groups of urban girls with complex relational histories to learn about growth-fostering relationships, without relying on sophisticated verbal abilities. Specific techniques encourage the expression of “feeling thoughts” and other interpersonal dynamics that do not lend themselves well to words. The interactive nature of the art projects creates a context where interpersonal disconnections can be explored and understood, and connections can be celebrated, both by talking and by making art.     

Heidegger,Art, and the Overcoming of Metaphysics

In this paper, I advance a new interpretation of Heidegger's reflections on art as we find them in his essay, ‘The Origin of the Work of Art’. I begin, in Section 1, by uncovering the fundamental concern that motivates Heidegger's essay. I show that Heidegger's reflections on art are part of his attempt to uncover a path beyond the history of metaphysics. I then suggest, in Section 2, that while Heidegger does think that art may allow for the overcoming of metaphysics, recent interpreters [Dreyfus ( 2005 ), Thomson ( 2011 ), and Young ( 2001 )] have mistook the kind of art that Heidegger has in mind here. The kind of art that can allow for the overcoming of metaphysics, I argue, is not art that simply thematizes and/or reconfigures cultural worlds (as these interpreters have argued). It is instead what Heidegger calls ‘primal poesy’. After discussing the nature of primal poesy, I show in more detail how this kind of art may be capable of getting us beyond the history of metaphysics in Section 3. Finally, in Section 4, I reconsider the more common reading of ‘The Origin of the Work of Art’ in light of the interpretation I've offered in Sections 2 and 3.     

Breaking Down Barriers: Museum as Broker of Home/School Collaboration

ABSTRACT

Parents have a major influence on children's learning, yet parent involvement remains weak in many communities. This article addresses the role of a museum in bringing home and school together, describing results from 2 complementary studies of a museum-designed and -implemented parent involvement program. The first study was an exploratory, mixed-methods investigation designed to understand the program's impact on parents' engagement in their children's learning. The second study used a grounded theory approach to develop theoretical hypotheses about the programmatic mechanisms that facilitated parents' engagement. In terms of impact, the program gave parents a platform through which to create new and more meaningful spaces for connecting to their children's learning, including conceptual spaces, social spaces, and physical spaces. In terms of mechanisms, the program first helped parents to build relevant capital and then to author new and relevant ways of engaging with their children's schooling. Taken together, study results broaden current thinking about the spaces in which parent engagement occurs and emphasize the important community-based role that museums can play to bring parents and schools together in support of children's development.     

Creativity,Acceptance, and the Pause: A Case Example of Mindfulness and Art in Therapy with an Adolescent

ABSTRACT

Mindfulness, defined as nonjudgmental awareness, has been integrated into a variety of therapeutic approaches. The benefits of mindfulness for adults have been demonstrated, and mindful interventions for youth are increasing. Creating a space for mindfulness to arise can be challenging within the hectic and technology-filled lives adolescents often lead. Art in therapy with adolescents can be a beneficial way of creating a pause, thereby helping clients to connect to a mindful state. The use of art in therapy to promote mindfulness can be especially useful for adolescents who can be reluctant to engage in traditional forms of talk therapy. In this article, we use a case example of therapy with a Mexican-American male youth to exemplify the clinical application of a combination of mindfulness and various art modalities.     

Art - A Feasible Illusion

This article discusses the approximation between art and psychoanalysis, considering both as manifestations of the unconscious. Art is viewed as a successful instinctual substitute which differs from the symptom in terms of effectiveness. A work of art is the symbolic universe of the artist, who, by withdrawing into the world of imagination, encounters the pathways of reality. Artistic manifestation is not interpretable, however it communicates with the observer who may also find satisfaction for his own unconscious desires therein.     

Facilitating Trainees' Multicultural Development and Social Justice Advocacy Through a Refugee/Immigrant Mental Health Program

This qualitative study explored trainees' experiences in an outreach program for refugee/immigrant women to examine if those experiences facilitated the development of multicultural competency and social justice advocacy. Twelve students were interviewed, and their responses yielded 3 categories: development of cultural knowledge, counseling‐related skills, and personal growth and reactions. The results indicate that student involvement in an outreach program can strengthen multicultural sensitivity and advocacy engagement.     

Public Participation and Scientific Citizenship in the Science Museum in London: Visitors’ Perceptions of the Museum as a Broker

ABSTRACT

Science museums in Europe play an emerging and important role as brokers between the public and policy-making institutions and are becoming platforms that enable scientific citizenship. To do so, museums rely on the participation of their visitors. However, little is known about the relation between visitors’ interest to participate, their engagement with science, and their perceptions of the museum as a platform of scientific citizenship. This study analyzes visitors’ interest in 3 levels of participation: Sharing opinions and feedback (the museum as “forum”); co-developing programs and activities; and participating in the governance of the museum. Quantitative analysis of the data from a survey conducted among 364 adult visitors to the Science Museum in London reveals that interest in the forum function of the museum does not depend on visitors’ prior engagement with science, but rather on how the museum enables the scientific citizenship of its visitors. However, for interest in co-development the reverse was found—previous engagement and frequent visits are more important than scientific citizenship. The forum function of the museum and its perceived role in public policy further determine visitors’ interest in museum governance.     

Art as Alchemy: The Bildobjekt Interpretation of Pictorial Illusion

I argue that if we read E. H. Gombrich's Art and Illusion with the charity that it deserves, we will find a much subtler theory of depiction than the illusion theory that is usually attributed to Gombrich. Instead of suggesting that pictures are illusory because they cause us to have experiences as of seeing the depicted objects face to face, I argue that Art and Illusion is better read as making the point that naturalistic pictures are illusory because they cause us to see qualities and properties that the pictures themselves do not possess. Once we appreciate this point, we will be in a better position to appraise the value and limits of naturalistic art.     

The Art Type Theory of Art

Abstract

The theory I present and defend in this paper—what I term the art type theory— holds that something is a work of art iff it belongs to an established art type. Something is an established art type, in turn, either because its paradigmatic instances standardly satisfy eight art-making conditions, or because the art world has seen fit to enfranchise it as such. It follows that the art status of certain objects is independent of what any individual or culture might say about it, while the art status of others fundamentally depends on the judgment of the art world. Because of the theory's quasi-institutional component, I conclude by defending it against four objections that have been raised against institutional definitions.     

Creation and Validation of an Observational Tool to Assess Children's Domain-General Skills at Museum Exhibits

Abstract

Understanding visitor experiences is an important focus for visitor research in attractions such as museums, zoos, and heritage sites because the visitor experience is the core product of the interaction between the visitor and the activities, events, and environments they encounter. This article describes the development of an instrument designed to capture multiple facets of the visitor experience using a simple and unobtrusive adjective checklist. The checklist has been tested and used at a range of attractions, including museums, art galleries, science centers, zoos, and aquariums. The instrument allows visitors’ responses to the experiential offerings of each site to be captured and graphically displayed, as well as providing individual measures on 15 dimensions. The instrument can be used to support further research and theory development as well as exhibit design and evaluation. Examples of such applications are discussed.     

Profiles of dyadic adjustment for advanced prostate cancer to inform couple-based intervention

Objective: The purpose of the study is to describe from a relational perspective, partners’ psychological adjustment, coping and support needs for advanced prostate cancer.

Design: A mixed methods design was adopted, employing triangulation of qualitative and quantitative data, to produce dyadic profiles of adjustment for six couples recruited from the urology clinics of local hospitals in Tasmania, Australia.

Methods: Dyads completed a video-taped communication task, semi-structured interview and standardised self-report questionnaires.

Results: Themes identified were associated with the dyadic challenges of the disease experience (e.g. relationship intimacy, disease progression and carer burden). Couples with poor psychological adjustment profiles had both clinical and global locus of distress, treatment side-effects, carer burden and poor general health. Resilient couples demonstrated relationship closeness and adaptive cognitive and behavioural coping strategies. The themes informed the adaption of an effective program for couples coping with women’s cancers (CanCOPE, to create a program for couples facing advanced prostate cancer (ProCOPE-Adv).

Conclusion: Mixed method results inform the development of psychological therapy components for couples coping with advanced prostate cancer. The concomitance of co-morbid health problems may have implications for access and engagement for older adult populations in face-to-face intervention.     

The Effects of Visual Arts Pedagogies on Children's Intrinsic Motivation,Creativity, Artistic Skill,and Realistic Drawing Ability

This exploratory study compared the effects of two different teaching methods (teacher‐directed vs. choice‐based) on the overall art skills, realistic drawing ability, intrinsic motivation to pursue art, and creativity in art productions in children attending the two art programs. The sample consisted of 83 third graders who completed two art exercises and an intrinsic motivation questionnaire. Using the Consensual Assessment Technique, 20 undergraduate art majors rated each drawing on creativity, overall artistic skill, and realistic drawing ability; these scores showed high‐internal consistency and served as measures for art skills and creativity. Children from the teacher‐directed program scored significantly higher on art skill (M = 3.09) than the children from the choice‐based program (M = 2.53, p = .025). Children from the teacher‐directed program also performed better on realistic drawing (M = 3.7, p = .038) than the children from the choice‐based program (M = 2.99). Art teaching method did not predict intrinsic motivation or creativity. Further analyses showed significant correlations between intrinsic motivation scores and overall art skill (r = .376, p = .002) and realistic drawing skill (r = .335, p = .007). Participating in the teacher‐directed program is associated with higher levels of artistic skill and realistic drawing ability, which are correlated with increased intrinsic motivation.     

Fernando Pessoa’s Art of Living: Ironic Multiples,Multiple Ironies

In The Art of Living, Alexander Nehamas argues that Michel de Montaigne, Friedrich Nietzsche, and Michel Foucault undertook a particularist art of living—a unique project of self‐construction. In so doing, argues Nehamas, they based their lives on the life of Socrates, that quintessentially ironic character. To this list of self‐fashioning philosophers, I add Fernando Pessoa, the twentieth‐century Portuguese writer. I argue that Pessoa, via the writings of his heteronyms, also took Socrates as the model for constructing a self. Moreover, Pessoa employed all three kinds of irony that Nehamas argues is present in Plato’s writing, and did so not just to investigate the nature of the self, but to question its very existence. This is Pessoa’s formulation of the problem of the self. But Pessoa also borrowed from Nietzsche’s views on multiplicity, redeploying them in order to fabricate multiple selves. Pessoa’s solution to the problem of the self thus consists in the heteronymic device, which acts as a deus ex machina, unifying the disparate fictional voices and establishing Pessoa as a new, authentic self. Accordingly, Pessoa borrows from both Platonism and anti‐Platonism, distinguishing himself from both, so as to contrive—and simultaneously exemplify—an original art of living.