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dc.contributor.advisorQuinn, Thereseen_US
dc.contributor.authorGreenberg, Alyssaen_US
dc.date.accessioned2017-10-27T22:31:01Z
dc.date.available2017-10-27T22:31:01Z
dc.date.created2017-05en_US
dc.date.issued2017-04-03en_US
dc.date.submittedMay 2017en_US
dc.identifier.urihttp://hdl.handle.net/10027/21787
dc.description.abstractIn the early 1970s, teens played bongo drums among the mummies at the Metropolitan Museum of Art. They burned incense, shot video, and performed interpretive dance in the museum’s European Sculpture Court--often to the chagrin of the Met’s administrators, curators, and security guards. Arts Awareness was a museum education program comprised of a series of experiences in art forms such as movement, music, photography, and video through which high school students created direct responses to artworks in the museum. This dissertation project is a close analysis of Arts Awareness, considering the program’s historical and cultural context, analyzing its pedagogy, and interpreting the perspectives of its creator Philip Yenawine and several affiliated artist-educators. The study of Arts Awareness is valuable not merely as a historical excavation, but as an example of participatory pedagogy that provides important lessons for the contemporary moment. In particular, the interest in participatory pedagogy as the site of social justice work in museums links Arts Awareness with today’s practitioners. Chapter 1 situates Arts Awareness within the institutional history of the Met as well as its broader historical moment, tracing the ways in which Arts Awareness diagnosed the museum’s struggles with racial, cultural, and economic diversity not simply as the result of curatorial or outreach decisions, but of institutional power dynamics within the museum itself. Chapter 2 argues that Arts Awareness attempted to leverage the unique potential of museum education as a site for challenging these power dynamics, positing a participatory pedagogy that made critical reflection on the power relations between individual and institution a fundamental component of engagement with art, and with the museum itself. Chapter 3 compares the motivations, objectives, and methods of Arts Awareness with those of contemporary practitioners of participatory and social-justice-oriented pedagogy through the lens of their respective approaches to the question of the “outsider.” Arts Awareness provides a crucially important model of educational practice driven by critical reflection on the relationship between pedagogy and institutional power dynamics--a reflection that any museum education program that aspires to the mantles of “inclusion” or “social justice” as they are predominantly articulated today must undertake.en_US
dc.format.mimetypeapplication/pdfen_US
dc.subjectArt museumsen_US
dc.subjectmuseum educationen_US
dc.subjectmuseum pedagogyen_US
dc.subjectart educationen_US
dc.titleArts Awareness at the Metropolitan Museum of Art: Art Museum Education as Artistic and Political Practiceen_US
dc.typeThesisen_US
thesis.degree.departmentArt Historyen_US
thesis.degree.grantorUniversity of Illinois at Chicagoen_US
thesis.degree.levelDoctoralen_US
thesis.degree.namePhD, Doctor of Philosophyen_US
dc.contributor.committeeMemberHiggins, Hannahen_US
dc.contributor.committeeMemberLee, Lisaen_US
dc.contributor.committeeMemberGude, Oliviaen_US
dc.contributor.committeeMemberSandlos, Karynen_US
dc.type.materialtexten_US
dc.contributor.chairQuinn, Thereseen_US


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