Page 136 - Lidija Tavčar, Homo spectator: uvod v muzejsko pedagogiko, Digitalna knjižnica, Dissertationes 3
P. 136
Homo spectator
nineteenth century to roughly the end of the 1930s. A presentation of dif-
ferent concepts of educational activities for children, where among other
things the »myth of the child-artist« is critically analysed, is followed by
a consideration of the relationship between schools and museums in Slove-
nia in the period following the Second World War. Towards the end of the
1950s a book entitled The School and Museums was published. The propo-
sals contained in this publication have been critically evaluated, since some
of them were formulated above all from the point of view of the needs of
schools. For example they called for the preparation of didactic exhibitions
modelled on those of other European museums. These exhibitions proved
to be very successful. »Museums should organise them on the basis of the
curriculum alone, and in the closest cooperation with the school.« This
proposal reveals a kind of educational diktat to museums which contra-
sts with the prevalent thinking from the 1990s, which stressed that educa-
tional work in museums and galleries should follow the objectives of mu-
seums and galleries, while educational work in a school should follow the
objectives of the school. Some of these objectives are complementary and
therefore educational work in the two kinds of institution complements
itself. But it can only complement itself if the two kinds differ from each
other. If they were the same, they would merely repeat, and not comple-
ment.
The section Guidance for Visitors to Art Museums contains suggestions
from experts on how to view works of art. One of the suggestions states
that peace and composure are extremely important when viewing art. In
recent decades the viewing of exhibits has become »visually noisy« becau-
se of the increasing number of visitors, and therefore ways to eliminate di-
stracting factors are indicated.
A discussion of the artefact as »learning object« concludes the second
chapter, in which it is stressed that authentic items on display are at the
centre of the gallery and museum experience and education.
The third chapter, Strategies of Aesthetic Education in Art Museums, at-
tempts to answer the question of what we can understand from different
ways of installing collections in art museums, and what it is that installati-
ons conceal or reveal to a greater or lesser degree. Then comes a presentati-
on of the »semiotic model« of guiding visitors through a traditionally in-
stalled art collection, which enables a synchronic approach to works of art,
although their installation follows the diachronic logic dictated by the hi-
story of art, which is the dominant doctrine in art museums.
nineteenth century to roughly the end of the 1930s. A presentation of dif-
ferent concepts of educational activities for children, where among other
things the »myth of the child-artist« is critically analysed, is followed by
a consideration of the relationship between schools and museums in Slove-
nia in the period following the Second World War. Towards the end of the
1950s a book entitled The School and Museums was published. The propo-
sals contained in this publication have been critically evaluated, since some
of them were formulated above all from the point of view of the needs of
schools. For example they called for the preparation of didactic exhibitions
modelled on those of other European museums. These exhibitions proved
to be very successful. »Museums should organise them on the basis of the
curriculum alone, and in the closest cooperation with the school.« This
proposal reveals a kind of educational diktat to museums which contra-
sts with the prevalent thinking from the 1990s, which stressed that educa-
tional work in museums and galleries should follow the objectives of mu-
seums and galleries, while educational work in a school should follow the
objectives of the school. Some of these objectives are complementary and
therefore educational work in the two kinds of institution complements
itself. But it can only complement itself if the two kinds differ from each
other. If they were the same, they would merely repeat, and not comple-
ment.
The section Guidance for Visitors to Art Museums contains suggestions
from experts on how to view works of art. One of the suggestions states
that peace and composure are extremely important when viewing art. In
recent decades the viewing of exhibits has become »visually noisy« becau-
se of the increasing number of visitors, and therefore ways to eliminate di-
stracting factors are indicated.
A discussion of the artefact as »learning object« concludes the second
chapter, in which it is stressed that authentic items on display are at the
centre of the gallery and museum experience and education.
The third chapter, Strategies of Aesthetic Education in Art Museums, at-
tempts to answer the question of what we can understand from different
ways of installing collections in art museums, and what it is that installati-
ons conceal or reveal to a greater or lesser degree. Then comes a presentati-
on of the »semiotic model« of guiding visitors through a traditionally in-
stalled art collection, which enables a synchronic approach to works of art,
although their installation follows the diachronic logic dictated by the hi-
story of art, which is the dominant doctrine in art museums.
