Research Resources

The Complicated Business of Plantation Tourism

From your colleague Kate Christianson, a recommended podcast:

The Complicated Business of Plantation Tourism

Kate says “It includes interviews with a historian, a guide and a reconciliation expert involved in consciously addressing slavery and the African American experience at places like plantations and Monticello–what they advocate, what they have encountered on their tours, related training, etc; how plantation  tourism profits are used, etc.  A good forum, with a lot of honest sharing from people calling in.”

Andy Warhol

From your colleague Kathleen Steiger. a video lecture: “Colleagues, curators, and friends José Carlos Diaz, Chief Curator, The Andy Warhol Museum, and René Paul Barilleaux, McNay Head of Curatorial Affairs, discuss the changing nature of Andy Warhol’s image over his lifetime, as he saw it and as others captured it.”

Conversation: On Warhol, Self-Portraits, and Gender

Native American pronunciation guide

Thanks to Debbi Hegstrom, Kathleen Steiger, and Joanne Platt, here is a guide to pronunciation of Native American cultures, developed for Hearts of Our People:

Native Nations pronun guide

From Debbi, “This is based for the most part on pronunciations spoken on websites. There were phonetic variations for some of the groups. We tried to be as accurate as possible; however, if you know of a different/more accurate pronunciation for any group, please send it my way. This is our best effort. If you want to print it our, it requires 8-1/2″ x 14′ paper.”

Artists in Paris database

From Susan Jacobsen,

Artists in Paris is an open-access digital humanities and art history project that maps hundreds of 18th-century artists’ homes and studios. This website’s database contains an entry for 471 artists. All of these artists were “members of the French Royal Academy of Painting and Sculpture (Academie Royale de Peinture et de Sculpture) between 1675 (when comprehensive address records began) and 1793 (when the Academy was disbanded during the French Revolution).” While it’s possible to search by artist name, drawing on personal knowledge of French 18th-century painters and sculptors, there is a handy Guide section that explains how to get the most out of the resource. Perhaps the easiest way to start using Artists in Paris is to filter by year, which produces color-coded markers on the map indicating addresses where artists lived. The color of the marker indicates the type of artist, such as history painter, engraver, or landscapist. Clicking on the markers displays information about the corresponding artist. For example, when filtering for 1778 there are 10 green markers indicating portrait painters, including Alexandre Roslin (1718-1793), who lived at four different addresses in Paris during his career. The principal investigator of the project is Hannah Williams, and the website was built by Chris Sparks. [DS]

Here is a link to the database: Artists in Paris

Mysteries in the Museum Tour

From Docent Anna Bethune, “Works well especially with grades four through eight.
Set the tone by talking about the Museum being like a time machine that can enable us to travel through time and through space – the engine of the time machine is our imagination.”

Mysteries in the Museum_Bethune

Monuments Men tour

If you were interested in pulling together a tour linked to World War II and the Monuments Men, check out the links below to a great blog on the objects in our collection that are connected to this period of history:

Honoring the Monuments Men, art saviors of World War II, with a self-guided tour at the MIA (Part I)

Honoring the Monuments Men, art saviors of World War II, with a self-guided tour at the MIA (Part II)

Rovezzano’s bust of St. John the Baptist is on the right in this 1945 photo of Nazi war loot in the Alt Aussee salt mines. ©TopFoto / The Image Works

 

2019 IDEA resources posted in the weekly CE message

December 17 to 29
IDEA Tip:  
Our Tour Toolkit: Developing an Inclusive Tour is now available on the artsmia Digital and Print Publications page, so take some time to explore its contents! Here is a direct link to it. Many of the IDEA tips provided over the last few months have come from the toolkit. This is a practical resource to use, with plenty of “tips” for best practices that were observed on tours or shared with staff. The digital publication platform will allow easier revision as best practices change, and the toolkit should adapt to whatever device you are using for access, be it your smartphone, tablet, or laptop. There is also an option to download a PDF of the toolkit. The full menu bar is accessed in the top right hand corner of the screen, and when you click on that, and scroll to the bottom, you will find the PDF option.
December 10 to 15
IDEA Tip:
If you plan to use artworks on view in Gallery 375, The Enduring Soul, take time to learn more about this collaborative gallery experience before your tour. From the artsmia.org site: “A collaboration between the Minneapolis Institute of Art and the Cultural Wellness Center, The Enduring Soul presents artwork by African and African American artists that honor the connection between ancestors and the living and between what is seen and the invisible. The artworks on view hold historical, personal, and community memory. The Minneapolis Institute of Art and the Cultural Wellness Center work to co-create methods for each organization to transform mainstream institutions. This includes widening interpretations of art, sharing authority, decolonizing collections in museums, and museum staff working in collaboration with cultural elders and subject experts. This partnership advances the work of both organizations as they work to establish museums as sites for social action.”
Please see this link for the training video and to familiarize yourself with the panel and labels for The Enduring Soul.
December 3 to 8
IDEA Tip:
In thinking of our spaces at Mia, we realize it is very much a white space, defined as “having an “overwhelming presence of white people and… absence of black people,” writes sociologist Elijah Anderson, though most are no longer explicitly anti-black.They are, however, fluid.” To better understand the impact of these spaces on those who are not white, check out this article: The Art of Being Black in White Spaces
November 26 to December 1
IDEA Tip:
Before tours, remember and reflect on how art connects to the memories and emotions within ourselves and our visitors. While scholarly expertise is valued, we also should value the personal lived experience. Two examples of personal lived experiences and community voices are now on view. In Gallery 259, check out the installation curated by Marlena Myles, a local Native American (Spirit Lake Dakota, Mohegan, Muscogee) artist, discussing the use of the American flag in Dakhóta and Lakȟóta artworks. In Gallery 254, you will see a Somali Qur’anic writing board, with a label written by a Somali community member, giving insight into the personal experience of viewing the board on display. These labels and installation help us remember that viewing the artworks on our tours is not a neutral or objective experience.
November 19 to 24
IDEA Tip:
Looking for more info on gender pronouns and how to talk about them? Check out MyPronouns.org. From MyPronouns.org: “Using someone’s correct personal pronouns is a way to respect them and create an inclusive environment, just as using a person’s name can be a way to respect them. Just as it can be offensive or even harassing to make up a nickname for someone and call them that nickname against their will, it can be offensive or harassing to guess at someone’s pronouns and refer to them using those pronouns if that is not how that person wants to be known. Or, worse, actively choosing to ignore the pronouns someone has stated that they go by could imply the oppressive notion that intersex, transgender, nonbinary, and gender nonconforming people do not or should not exist.”
November 12 to November 17
IDEA Tip:
For those giving school tours, just a reminder to share the Social Narratives and pre-tour videos to help school groups prepare for their visit to Mia. Here is a direct link to the page on artsmia.org with the videos and Social Narrative link: https://new.artsmia.org/programs/school-tours/
November 5 to November 10
IDEA Tip:
We had a great discussion with Curator Jill Ahlberg Yohe at the training on Native American art. Jill offered some good reflection questions to consider before touring the Americas galleries: What do you want to share with visitors? Why do you want to share it? and Where do you come from? (Is it your story to share?). If you did not have a chance to attend the training, we have posted the video of the training from last Thursday, along with a handout from Jill. Here is a direct link to the material on the IPE website.
October 29 to November 3
IDEA Tip:
As we know, language is always changing. Check out this article link about saying the word “disabled.”

October 22 to October 27

IDEA Tip:  
If you are touring students or adults, remember the power of Visual Thinking Strategies (VTS) as an approach to start discussion about a work of art. Those three simple open-ended questions often lead to great observations from many in the group: “What’s going on in this picture? What do you see that makes you say that? What more can we find?” Paraphasing the responses received validates the visitors’ thoughts and ideas and demonstrates you are listening closely.

October 15 to October 20

IDEA Tip:
Whether you are touring students or adults, consider integrating a pair share opportunity into your tour. Pair-share or small group discussion opportunities are often effective strategies for improving levels of engagement in large or quiet groups. Like the nonverbal responses, this technique allows for the entire group to participate. Time spent in discussion with peers may jumpstart conversation or reinforce the relevancy or value of ideas expressed.

October 8 to October 13

IDEA Tip:
For a reminder of the services available at Mia for visitors with disabilities, check out the Accessibility and Inclusion page on the Mia website. A printed rack card with these services is now also available by the Third Avenue lobby elevator.
October 1 to October 6
IDEA Tip:
From the Mia Intranet, “The term “decolonize,” as in “decolonize the museum,” is gradually emerging from academic circles to describe the vital work of recognizing and remedying the historical effects of white supremacy on institutions like traditional museums.” Here is a short resource to check out from a researcher in the UK, Shelley Angelie Saggar: The Decolonial Dictionary. In particular, Saggar calls attention to the term Indigenous peoples by quoting author Daniel Heath Justice, (Cherokee Nation/ᏣᎳᎩᎯ ᎠᏰᎵ), from his book Why Indigenous Literatures Matter: ‘The capital “I” is important […] as it affirms a distinctive political status of peoplehood, rather than describing an exploitable commodity, like an “indigenous plant” or a “native mammal”.[1] The “s” in “peoples” then, serves to signal the fact that Indigenous peoples are hugely diverse, with distinct cultures, histories, languages and beliefs. Pluralising “peoples” makes this clear and resists subsuming all Indigenous peoples together as a homogenous group.’

September 24 to September 29

IDEA Tip:
From the cultural fluency training on our upcoming exhibition, we received a good reminder today. We often shorten the titles of exhibitions when referencing them to others, so just a reminder to avoid referencing “Artists Respond: American Art and the Vietnam War, 1965-1975” as the “Vietnam exhibition.” The focus of the exhibition is on the artists’ response to the Vietnam War, not the country.

September 17 to September 22

IDEA Tip:
Here is a link to a reference chart from the Center for Disability Rights, “Words & Phrases to Use or Not Use” when writing or speaking about disability (scroll to the bottom of the column to see the chart). However, the Center also makes this important point, “While most people in the Disability Community agree these terms and usages are overwhelmingly problematic, there are always exceptions. Always ask a disabled person how they wish to identify, and respect that. If you find the term problematic, you can always say this is how the person self-identifies in your article, video, or other pieces of media. Identifying as disabled is a personal choice each person must make for themselves. Some are very proud, while others are uncomfortable with their disability. Everyone is in different places of their journey to acceptance.”

September 10 to September 15

IDEA Tip:
For your exploration, here is a great PBS website, “What I Hear When You Say…” with short videos on many topics we have discussed in past training sessions, including cultural appropriation versus cultural appreciation.

August 27 to September 8

IDEA Tip:
Reflection is a powerful tool for learning. Spend some time reflecting as we approach the start of fall tours. What does inclusion mean to you? What are some ways you could facilitate your tours or art cart sessions to be more inclusive, offering visitors more opportunities for participation?

August 20 to August 25

IDEA Tip:
Be cautious of making assumptions about family and homes, especially when leading school tours. For example, while looking at the Cream of Wheat box in Philip Goodwin’s painting A “Bear” Chance, you might ask “What kind of breakfast did your mom or dad make you this morning?” With that question, you assume all the kids were able to eat breakfast, eat at home, and that a parent takes care of them. An easy fix is to turn the question to an opinion question, such as “if you could choose whatever you wanted to eat for breakfast, what would you choose?”

August 13 to August 18

IDEA Tip:
When first meeting your group or interacting with visitors at the Art Carts, avoid asking any visitor “where are you from?” While the motivation behind your question may be an attempt to initiate conversation, this question is a form of microaggression reported by many people (read more on reactions to this question at this link). Instead, focus on what brought visitors to Mia. What type of art do they hope to see? What type of art do they most enjoy? Especially on public tours when you may have a disparate group of people, focusing on why people chose to visit Mia helps create a common topic of conversation connected to the museum experience or tour.

August 6 to August 11

IDEA Tip:

Having a focus to your tour is an important part of developing an inclusive visitor experience. If you are touring “Highlights” of the museum, develop a theme to connect the objects. Everyone is entering into the tour with a unique set of personal expectations, and a theme helps create a shared expectation, such as “today we’ll be exploring how modern artists were inspired by the natural world.” At each stop, visitors will think of making connections to that theme, and following the visit, the theme helps visitors recall the group’s discussion and information about the artworks. With a theme, you are creating a common lens through which to view the art.

July 30 to August 4

IDEA Tip:
From an article by Jaclyn M. Roessel on “Restoring Indigenous Perspectives” in the latest issue of AAM’s Museum magazine, rethink the language used on tours to describe cultural material of non-Anglo cultures. “Terms like “artifact” and “object” contribute to the erasure of the indigenous histories. Using community-centered terms like “belonging” and “cultural resource” acknowledge the ownership and value these items have within Indigenous communities that still exist today.”

July 23 to 28

IDEA Tip:
When presenting a work by an unknown artist, specifically identify the cultural group from which the object originates. Continue to reference the culture’s name in discussion, and avoid use of “these people” or any terms that signify the culture as the “other” in your facilitation. For example, here is how you could introduce an object with an unknown artist: “The Kundu drum was made by an artist of the Iatmul people. The Iatmul live in Papua New Guinea and use hand drums to accompany clan songs performed at important community events.” If uncertain on pronunciation of a culture’s name, check with staff or your colleagues, as well as look online for pronunciation guides. Several volunteers have worked on great pronunciation guides which are posted on the IPE website for your use: Peer Sharing pronunciation guides

July 16 to 21

IDEA Tip:
Be comfortable with wait time when you ask a question. We all have different rates of processing, and on tours, it is often tempting to take the answer from the first hand in the air. Take a breath and wait for a few more people to be ready to answer, so more people have the chance to participate in the discussion.

July 9 to 14

IDEA Tip: When developing questions for tours and art carts, focus on open-ended questions to promote dialogue with visitors. Open-ended questions allow visitors to express ideas and opinions, helping them to connect to the art and better remember their experience at Mia. Open-ended questions also support English language learners visiting Mia. Here is a link to an article from Dr. Veronica Alvarez, Director of School and Teacher Programs, Los Angeles County Museum of Art (LACMA), on “Good Teaching is Good Teaching: English Learners and Museums.”

For examples of various types of open-ended questions, check out this resource: Using-Open-ended-Questions

June 25 to 30

IDEA Tip: Use inclusive language when greeting visitors (adults and children). Avoid gender binaries. What are inclusive language options? See this article: Mac Buff, Beyond Bathrooms: Including all Genders through Language, Viewfinder, March 2019.

In addition Margaret Middleton, Exhibit Designer at the Boston Children’s Museum, discuses the need for museums to critically examine the words they use pertaining to families: Including-the-21st-century-family

 

Hearts of Our People: Teachers’ Guide

The teachers’ guide developed for Hearts of Our People has some excellent information on objects within our permanent collection:

Mia_HOOP_Teacher_Guide_2019

Here are the objects covered in the guide:

Hohokom artist, Bowl
Ancestral Pueblo artist, Pot
Anishinaabe (Ojibwe) or Dakhóta artist, Dance Blanket
Maȟpíya Boğá wiŋ (Nellie Two Bear Gates), Suitcase
Jamie Okuma, Adaptation II
Dyani White Hawk, Untitled (Quiet Strength I)