Read the newest issue of Viewfinder here. How is this achieved and maintained? Through intentionality - reflection, mindfulness, constant learning, and collaboration. Many art museum educators are engaging with the field of social justice, profoundly changing institutional understandings of equity and broadening audience engagement. Viewfinder Issue 4 – Intentionality and the Role of the Museum Educator: Letter from the Editors If you’d like to be involved, whether as an author or peer reviewer, or if you have ideas or comments on topics or themes, we would love to hear from you! Please read this article for more information. Peer editors will also be found through the listserv, and the publication’s organizers will pair each accepted submission with an editor who is in a different “generation” than the article writer. Colleagues will be invited to submit a summary/abstract and indicate the number of years they have worked in the field. Featuring experiments, inviting critiques, and inspiring cross-generational dialogue, Viewfinder is a resource that is not dedicated solely to best practices, but rather documents the value of rigorous reflection.Īrticles will be solicited via the NAEA listserv and social media outlets. Viewfinder is an experimental publication about museum education from the National Art Education Association’s Museum Education Division that aims to engage colleagues in ongoing dialogues about museum education today by combining the speed and timeliness of a blog with the rigor of a peer-reviewed journal. The dead hand of the pornographer squeezing the life out of the image, the women 'trapped' in their situation.Viewfinder: Reflecting on Museum Education E-Journal The grid becomes a trap or cage and the very flat copying of a photograph signifies that the images of women for pornographic uses, are in effect 'flattening' or 'killing' them. Although this is not Tomkins' main point, this is not the image is of a dead person, it comes from a series of images about how women are used in pornography, but the way it is made in effect 'deadens' or 'kills' the image and for myself, gives this image an added poignancy. It is as an image very flat, the angle of pencil stroke has little variation because the information does not come from surfaces that change direction as they move over a three dimensional form, the tonal values sit in a very narrow range and texture is diminished because there is no direct experience of a textured surface from which to draw from. Tomkins' drawing tells us a lot about copying from photographs using a grid system. I must admit it's much better than the ones I have used in the past made from 4 strips of paper and 4 paper clips, or old 35mm projector slide mounts but it will often cost you over £10. The sliding panel has a small hole that you can use to judge local colour or tonal value and as the viewfinder is a neutral grey, this gives it more use value. Markings along the side help you set common aspect ratios linked to sizes such as 8 by 12 inches or 11 by 14 inches. Created by contemporary artist Agata Rek. However they can be useful, for instance the one shown above, the ' Artist’s View Catcher', is 3 1/2 inches square, with a window opening that you can adjust by using a sliding panel. Abstract minimalistic original collage from the Picasso & I, allegories art collection. We have in effect captured the view in a cage or trap. Our peripheral vision is cut off, our visual scanning processes are restricted and the situation we are looking at is made far less dynamic. Looking within a rectangle also changes the way we see things. We don't see in rectangles but have become used to seeing compositions within them because cameras produce rectangular images and we look through a lot of rectangular windows, paper is cut into rectangles and our paintings are usually displayed in rectangular frames but just because these things are familiar doesn't mean they are right or the only way to do things. The first one of course is the impact of the rectangle itself. All useful things, but they do come with certain implications. They also allow you to think about aspect ratio and how that might effect the compositional needs of your selection. Nine Mile Run Viewfinder is a portal for seeing, hearing, and smelling the waterway beneath our feet, art of the Environment, Health & Public Art. The advantages of working with a viewfinder when making objective drawings is that you can use them to isolate your subject matter by limiting your field of vision and cutting away your need to scan and look at areas of visual information that could otherwise distract you.
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