Making the Familiar Strange … a view of gallery research from the inside <ul><li>Helen Charman & Michaela Ross </li></ul><...
The Value of Research <ul><li>Embeds reflective practice </li></ul><ul><li>Connectivity between range of contexts </li></u...
<ul><li>Making the familiar strange </li></ul>Making the strange familiar
Recent and current research projects <ul><li>Internal </li></ul><ul><li>A Turn of Mind: contemporary visual art and interp...
Summer Institute <ul><li>Participant demographics: </li></ul><ul><li>14 teachers </li></ul><ul><li>6 primary/junior; 8 sec...
Aims of Action Research project <ul><li>Explore process of creating interpretations/meaning making with reference to Ways ...
Why choose action research as the research mode?  <ul><li>Principles of collaboration and learning through doing </li></ul...
 
A Personal Response by Alison Mawle to  Pacific   Yukinori Yanagi 2000
 
Looking at the Object: A response by Sancha Briffa to Robert Morris  Untitled 1965/71
Outcomes <ul><li>Interpretation as a dialogical process; art work conceptualised in responses (multi-modal)  </li></ul><ul...
<ul><li>This has allowed me to break out of a trap of limited knowledge and confidence.  I’ve gained a tremendous range of...
<ul><li>Richardson, in discussing research design in the philosophical context of postmodernism, suggests that “the centra...
... then research is an educator’s best friend. If diamonds are a girl’s best friend …
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Making the familiar strange by Helen charman & michaela ross

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a view of gallery research from the inside. galleries creating learning nov 04 from engage.

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Making the familiar strange by Helen charman & michaela ross

  1. 1. Making the Familiar Strange … a view of gallery research from the inside <ul><li>Helen Charman & Michaela Ross </li></ul><ul><li>Galleries Creating Learning Nov 04 </li></ul>
  2. 2. The Value of Research <ul><li>Embeds reflective practice </li></ul><ul><li>Connectivity between range of contexts </li></ul><ul><li>Contribution to professional knowledge </li></ul><ul><li>Makes extrinsic the distinctiveness of our field and make arguments for its status </li></ul><ul><li>Gives us confidence; moves us beyond the case study </li></ul>
  3. 3. <ul><li>Making the familiar strange </li></ul>Making the strange familiar
  4. 4. Recent and current research projects <ul><li>Internal </li></ul><ul><li>A Turn of Mind: contemporary visual art and interpretation (Helen Charman & Michaela Ross published Spring 05 www.tate.org.uk/research/tateresearch/tatepapers) </li></ul><ul><li>Encounters with Artworks in the Schools Programme at Tate Modern (Mich è le Fuirer, to be presented as research in progress tomorrow in the Passionate Learning workshop at Tate Modern) </li></ul><ul><li>Partnership </li></ul><ul><li>Contemporary visual art and approaches to learning . Partnership with Goldsmiths School of Education. Complementary to en-quire. </li></ul><ul><li>Commissioned </li></ul><ul><li>School Art: What’s In It? ACE and NFER. Launching today. </li></ul>
  5. 5. Summer Institute <ul><li>Participant demographics: </li></ul><ul><li>14 teachers </li></ul><ul><li>6 primary/junior; 8 secondary/college </li></ul><ul><li>Included 1 NQT, 1 nearing retirement. Majority mid career. </li></ul><ul><li>Majority mainstream; 1 working in SEN </li></ul><ul><li>2 primary Art Co-ordinators, 3 secondary HODs </li></ul><ul><li>Structure: </li></ul><ul><li>Daily seminar to discuss set texts ( The Methodologies of Art , Scheider Adams; The Intelligent Eye , Perkins; Tate Modern Teachers Kit ) </li></ul><ul><li>Workshops in the gallery </li></ul><ul><li>Programme of visiting speakers (Emma Kay, Kathy Battista, Jane Burton) </li></ul><ul><li>Micro teach by all participants at end of the week </li></ul><ul><li>Looking Log </li></ul><ul><li>Aims: </li></ul><ul><li>Developing confidence through building up knowledge and understanding of concepts and ideas in contemporary art </li></ul><ul><li>Finding new ways of engaging pupils with modern and contemporary art </li></ul><ul><li>Being part of a network of teachers, and learning from the group interactions </li></ul><ul><li>Invigorating a personal relationship with modern and contemporary art </li></ul><ul><li>Putting contemporary art in context </li></ul>
  6. 6. Aims of Action Research project <ul><li>Explore process of creating interpretations/meaning making with reference to Ways of Looking framework </li></ul><ul><li>Uncover complexities and challenges involved in this process </li></ul><ul><li>Explore the value of using a structured, methodological approach for teaching </li></ul>
  7. 7. Why choose action research as the research mode? <ul><li>Principles of collaboration and learning through doing </li></ul><ul><li>Enabled initiating researchers to occupy different roles according to the work we were engaged in: </li></ul><ul><li>Planner leader </li></ul><ul><li>Catalyser facilitator </li></ul><ul><li>Listener observer </li></ul><ul><li>Synthesizer reporter </li></ul><ul><li>We were not required to remain objective, but needed open to acknowledge our biases to other participants </li></ul>
  8. 9. A Personal Response by Alison Mawle to Pacific Yukinori Yanagi 2000
  9. 11. Looking at the Object: A response by Sancha Briffa to Robert Morris Untitled 1965/71
  10. 12. Outcomes <ul><li>Interpretation as a dialogical process; art work conceptualised in responses (multi-modal) </li></ul><ul><li>Moments of coherence in what was essentially a destabilising process </li></ul><ul><li>Acceptance of shifting frameworks for interpretation; no final point of stasis </li></ul><ul><li>Understanding that meanings can shift; they have a contingent quality; they are iterative </li></ul><ul><li>Instability can be liberating… </li></ul>
  11. 13. <ul><li>This has allowed me to break out of a trap of limited knowledge and confidence. I’ve gained a tremendous range of strategies and now value a range of responses to what I see and still want to know more. </li></ul><ul><li>Sancha Briffa KS 2 teacher </li></ul>
  12. 14. <ul><li>Richardson, in discussing research design in the philosophical context of postmodernism, suggests that “the central image is the crystal, which combines symmetry and substance with an infinite variety of shapes, substances, transformation, multi-dimensionalities, and angles of approach”, which reflects and refracts understandings in the creation of more complex understandings. ( New Approaches in Social Research , Carol Grbich) </li></ul><ul><li>Having a research sensibility at the heart of programming means embracing such complexity and acknowledging that it’s an ongoing process (implications for budget and time management) which can take a multitude of forms </li></ul><ul><li>Part of striving for learning programmes to be the crystal – the jewel - in the crown of the art museum, which at present privileges knowledge about art over knowledge about interactions with art </li></ul>Building on research
  13. 15. ... then research is an educator’s best friend. If diamonds are a girl’s best friend …

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