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This comprehensive volume highlights and centres untold histories of education at MoMA from 1937-2020, using the critical voices of artists, scholars, designers, and educators. Exploring these histories as transformative and paradigm-shifting in museum education, it elevates MoMA educators as vocal advocates for harnessing educational power.
This comprehensive volume highlights and centres untold histories of education at MoMA from 1937-2020, using the critical voices of artists, scholars, designers, and educators. Exploring these histories as transformative and paradigm-shifting in museum education, it elevates MoMA educators as vocal advocates for harnessing educational power.
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Sara Torres-Vega is Associate Professor at Complutense University, Spain and Lecturer at New York University in Madrid. Wendy Woon is an adjunct instructor at New York University's Steinhardt School Visual Arts Administration program, and was the former Deputy Director for Education at MoMA.
Inhaltsangabe
Foreword Introduction PART 1 ROOT: A BEGINNING, A PEDAGOGY, A TERRAIN, A SPIRAL Chapter 1 MASS FRUSTRATION: On the historical hunger for cultural openings and inclusion 1.1 What Victor D'Amico Got Right About Art Education 1.2 Inclusive Exclusions: Victor D'Amico and the Management of Diversity at MoMA Education (1935-1970 and beyond) Chapter 2 DISSIDENT ELITES: On the need for powerful allies 2.1 The Museum, Is Not A School? 2.2 Art for Democracy: The Young People's Gallery 2.3 "The Principles Of Modern Architecture Are ____": Arthur Drexler and the Museum as Classroom 2.4 SpaceBoxing PART 2 ARCA: A SHELL, A BOX, AN ARK, A BARGE Chapter 3 A WORLD IN CRISIS: On art education in times of war 3.1 The Archive We Don't See: Mining a Speculative Counter-Narrative within MoMA's Victor D'Amico Papers 3.2 Art-Class Democracy Chapter 4 A PERMISSIVE INTERNATIONAL CONTEXT: On the globality of art 4.1 Archiving Il Paradiso 4.2 Confidential Report: MoMA in Barcelona (Spain) Feria 4.3 Index of an Image from the MoMA Education Archive 4.4 Three Breakfasts With Indira Gandhi: Prabha Sahasrabudhe's Reminiscences of the Children's Art Carnival in India Chapter 5 Discontinuance Chapter 6 AFTERLIFE: On leading a new beginning 6.1 Finding the Children's Art Carnival: An International Treasure 6.2 Intro To A Life In The Arts PART III. REMANENCE: a practice, a voice, a story, a force Charter 7. DEMOCRATIZING THE ARTS Chapter 8. VISUAL THINKING AND POLITICAL ACTION Chapter 9. BROADENING THE AUDIENCE: more technology and internationalization Chapter 10. AN EXPANDING MUSEUM COMMUNITY Chapter 11. THE MUSEUM AS A LABORATORY Epilogue
Foreword Introduction PART 1 ROOT: A BEGINNING, A PEDAGOGY, A TERRAIN, A SPIRAL Chapter 1 MASS FRUSTRATION: On the historical hunger for cultural openings and inclusion 1.1 What Victor D'Amico Got Right About Art Education 1.2 Inclusive Exclusions: Victor D'Amico and the Management of Diversity at MoMA Education (1935-1970 and beyond) Chapter 2 DISSIDENT ELITES: On the need for powerful allies 2.1 The Museum, Is Not A School? 2.2 Art for Democracy: The Young People's Gallery 2.3 "The Principles Of Modern Architecture Are ____": Arthur Drexler and the Museum as Classroom 2.4 SpaceBoxing PART 2 ARCA: A SHELL, A BOX, AN ARK, A BARGE Chapter 3 A WORLD IN CRISIS: On art education in times of war 3.1 The Archive We Don't See: Mining a Speculative Counter-Narrative within MoMA's Victor D'Amico Papers 3.2 Art-Class Democracy Chapter 4 A PERMISSIVE INTERNATIONAL CONTEXT: On the globality of art 4.1 Archiving Il Paradiso 4.2 Confidential Report: MoMA in Barcelona (Spain) Feria 4.3 Index of an Image from the MoMA Education Archive 4.4 Three Breakfasts With Indira Gandhi: Prabha Sahasrabudhe's Reminiscences of the Children's Art Carnival in India Chapter 5 Discontinuance Chapter 6 AFTERLIFE: On leading a new beginning 6.1 Finding the Children's Art Carnival: An International Treasure 6.2 Intro To A Life In The Arts PART III. REMANENCE: a practice, a voice, a story, a force Charter 7. DEMOCRATIZING THE ARTS Chapter 8. VISUAL THINKING AND POLITICAL ACTION Chapter 9. BROADENING THE AUDIENCE: more technology and internationalization Chapter 10. AN EXPANDING MUSEUM COMMUNITY Chapter 11. THE MUSEUM AS A LABORATORY Epilogue
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