Increasingly, medical educators integrate art-viewing into curricular interventions that teach clinical observation-often with local art museum educators. How can cross-disciplinary collaborators explicitly connect the skills learned in the art museum with those used at the bedside? One approach is for educators to align their pedagogical approach using similar teaching methods in the separate contexts of the galleries and the clinic. We describe two linked pedagogical exercises--Visual Thinking Strategies (VTS) in the museum galleries and observation at the bedside--from "Training the Eye: Improving the Art of Physical Diagnosis," an elective museum-based course at Harvard Medical School. It is our opinion that while strategic interactions with the visual arts can improve skills, it is essential for students to apply them in a clinical context with faculty support-requiring educators across disciplines to learn from one another.
Art museums devote enormous resources to supporting K-12 school visit programs, even though there is little research to indicate that single field trips result in significant student learning. The Isabella Stewart Gardner Museum’s education department has taken a different approach, focusing instead on a multiple-visit program that gives students and their teachers extended practice with art discussion using the Visual Thinking Strategies (VTS) approach and conducting a 3-year research project that has shown links between learning to look and critical thinking. This article describes a new model for museum-school collaboration, one that centers on helping students develop their own abilities to look at and interpret art.
Founder's legacy; museum committed to becoming a more visitor-centric art museum that education; community prioritizes welcoming a broader audience than ever before. engagement; visitor Through innovative exhibitions that link the past to today, and by experience; strategic plan investing its energy and resources in both its collection presentation and the visitors who engage with it, we ensure that Gardner's museum is truly "for the education and enjoyment of the public forever." A museum that never changes Opened in 1903, the Isabella Stewart Gardner Museum (ISGM) recalls the design of a Venetian palazzo or palace. A seasoned traveler and global explorer nearly all of her life, Isabella Stewart Gardner grounded her "Fenway Court," as it was known in her time, with a central courtyard, with one central twist: the pink stucco walls that are often found on the exterior of Venetian palaces has been flipped to the inside courtyard walls, surrounding lush plants, flowers, ancient Roman sculptures and a mosaic (Figure 1). She then filled three floors of rooms and galleries around the courtyard with all kinds of art spanning the ages: over 7500 objects (including paintings, sculpture, drawings, prints, furniture, textiles, metalwork, architectural fragments, and other bric a-brac), 1500 books, and over 7000 pieces of archival material. Her collection is best known for European Medieval and Italian Renaissance art and nineteenth-century American painting. The museum features artwork from around the world, pieces that demonstrate her interest in exploring different continents and cultures throughout her life. Wherever she traveled and when she was home in Boston, she sur rounded herself with family, friends, artists, poets, and performers including Joseph
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