Public art is an artistic expression created in streets, squares and other public spaces, including parks. Using the two popular public parks in the New York City, Central Park and the High Line, this paper explores the affordances offered by public art in these two urban environments, with a focus on physical, intellectual and emotional connections between the visitor, the artwork and the landscape setting. Using affordance theory as a framework, it considers the design of the landscape as a behaviour setting that affords viewing, acknowledgement and reflection of the artwork within the contemporary cultural context. Using preliminary qualitative observations of six artworks within the two parks, this research suggests that public art has the potential to afford such diverse opportunities for public park visitors. In order for these affordances to be actualised, the design of the park and the artwork's intentions should be coordinated to ensure that the experiences of the visitor align with the claimed benefits of public art.
Short-term international study experiences, or study tours, aim to increase students’ global awareness, educate and empower them to be productive global citizens, and contribute to their future employability. Learning outcomes from study tours often include intangible personal characteristics or soft skills, as opposed to specific disciplinary skills and knowledge, and yet, these are not easily identified. Using an iterative Delphi process, this study aimed to understand the pedagogical experience of tour leaders (experts) and assist in future development of effective assessment. Findings include four key areas of agreement among the experts: (1) both discipline-based knowledge and the acquisition of intangible personal characteristics are important learning outcomes and are considered to be almost equally important, (2) assessment almost always occurs on tour, (3) formative assessment for learning is predominantly used (rather than learning for summative assessment to test the learning), and (4) facilitated reflection is an important way to encourage learning during a study tour. Yet, the findings also reveal uncertainty about assessing outcomes that include intangible personal characteristics and soft skills. The article concludes with pedagogical implications and recommendations for future research.
International short-term study tours are a fast-growing format for outbound education and provide exciting experiential learning opportunities for students in the creative industries disciplines. This success has encouraged researchers to seek a comprehensive view of the various concrete experiences that contribute to student learning during study tours. To that end, this article presents evidence from a qualitative online post-tour questionnaire administered with students studying various art and design disciplines who participated in short-term international study tours at a large Australian university in 2015. Using Kolb's Experiential Learning Theory as a framework, data collected explored student perceptions of which concrete experiences on a study tour are most impactful and which may actually hinder learning. Findings revealed: experiencing key industry venues are the most significant aspects of a study tour, rather than networking or personal growth; poor itinerary planning and travel issues are the least liked aspects of a tour, yet are often the most easily addressed with better tour management and planning; and students were positively impacted by unexpected gains in knowledge about their creative industries discipline. This study, therefore, provides unique insights into which concrete experiences may be most impactful as part of the experiential learning cycle within an international study tour for creative industries students.A number of studies have investigated student-learning experiences during shortterm international study tours. These have focused primarily on policy development, curriculum design, developing more efficient assessment and enhancing teaching expertise to imbue students with new global perspectives. For example, iJADE 38.2 (2019)
Art museums are playing an important role is attracting cultural tourists to global cities and regions. Traditionally, art museums were primarily known for their didactic role. In a post-avant-garde era however museums are more focused on appealing to a broader clientele that want art to be novel and entertaining. Art museums have also come to play a greater role in gentrification projects and cultural precincts. This is because they are ideally suited for tourist-centric environments that offer a variety of immersive sensory experiences, and combine museums (often designed by star-architects), international hotels, restaurants, high-end shopping zones, and other leisure platforms. These "experiencescapes" include Port Maravilha urban waterfront development in Rio de Janiero, the Shanghai Bund, and the Broad project in Los Angeles. The Museum of Old and New Art in Hobart Australia is a boutique player in the global market for experiencescapes. It is smaller than many of its competitors and is situated in a remote part of the world, yet it has made an important contribution to Tasmania's tourism industry.
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