Texas Trends in Art Education, Volume 3, Number 1, Fall 1985 Page: 41
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1. The program or project should be in ac-
cord with the broad institutional objective
of both parties. (Does the program fulfill
educational, evaluation or community
service goals of the institutions, for in-
stance? Other categories might be
appropriate.)
2. The project should be in accord with in-
stitutional needs. The needs of one in-
stitution may satisfy the needs of the
other, i.e. it should not create a new
need.
a. The museum needs/wants an audience
(visitors).would be observation of tours by the uni-
versity student and an evaluation made
on the basis of the use of a mutually-
developed evaluation form. The univer-
sity art educator should assume responsi-
bility for preparing the student for the
museum assignment and should ensureseum is presented below. Points of intersec-
tion occur whenever:
1. Asset(s) of one institution fulfill need(s)
of the other. (Needs of one institution can
be met by tapping the resources/assets/
expertise of the other). Example: Mu-
seum need for a public and members is
enhanced by university student visits,
participation.
2. An exchange of resources/assets/exper-
tise takes place to meet individual/institu-
tional needs and enhance shared goals or
areas of common interest.
The points of intersection which made
our program workable were:
1. The rapport as colleagues between edu-
cators at the two institutions; (communi-
cation is basic to the process of defining
those other points of intersection out of
which informal or formal cooperative pro-
grams can be undertaken).
2. Existing museum programs which
dovetailed with emerging university
programs.
3. University resources for assessment pro-
cedures which related to the objective on
the part of both institutions for evaluation
of curriculum and teaching strategies. ,
4. Provision by the university of an audience
(students and teachers) and lab space for
application and development of museum
curriculum.
5. Access to art objects from the museum
collection to provide aesthetic experi-
ences for pre- and in-service teachers.
6. Perception by museum and university ad-
ministrators that the program provided
valuable community service and en-
hanced each institution's public image.
7. Perception by university administrators
that the program met valid research and
educational objectives.
However, certain conditions need to be ful-
filled if joint efforts are to be successful.
What are those conditions?b. University art education students need
to have contact with art objects.
3. The project should not conflict with spe-
cific priorities, both short and long term,
and educational goals of the institutions.
4. The project should take full advantage of
natural points of intersection including:
a. existing connections between art edu-
cation colleagues in each institution,
and
b. existing programs/projects in order to
not substantially increase the work-
load of either the university or the
museum art educator.
5. The project should result in new knowl-
edge or ideas that have been systemati-
cally developed and tested (research) and
should become more than a sum of its
parts through interactions of people, pro-
grams, assets and resources.
Specific recommendations for programs
might include:
1. The art museum might be approached
with the idea that university students will
be conducting small research projects on
topics related to museum education (in-
formal learning in museums). Is there a
place where our interests intersect? It
might well be found that the museum
is interested in tour evaluation, and a
project might be arranged in which therethat the student does not demand an un-
reasonable amount of supervision by the
museum educator. An inadequately pre-
pared student cannot fit into the museum:
educator's schedule. On the other hand,
some time commitment from the mu-
seum educator is essential to benefit the
student.
2. The University might be approached by
the museum educator with the purpose of
exploratory projects that might include
lectureS to art education classes, or joint
workshops for university students or
community teachers. The art educators
might consider how museum needs/re-
sources intersect with opportunities for
university art teachers in training to ob-
tain credit or acquire art content knowl-
edge not available elsewhere, or for
museum docents to attend University
lectures or classes as part of required
training. Formats for this type of ex-
change might include:
a) Students attend museum lectures.
b) An art education class might meet for
one or more sessions in the museum
gallery.
c) Docents attend university lectures or
enroll in university art education
courses for credit.
d) Students attend selected portions of
docent training lectures or workshops.
e) Students might be trained as docents,
perhaps to develop or pilot a new tour
strategy.
f) Students might become new museum
members.TRENDS / fall 1985
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Texas Art Education Association. Texas Trends in Art Education, Volume 3, Number 1, Fall 1985, periodical, Autumn 1985; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth279681/m1/43/?q=architectural+drawings: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Texas Art Education Association.