Shared Journeys Curriculum Theory and Museum Education

Rose, Julia

doi:10.1080/10598650.2006.11510535

Cited by 6 publications

(1 citation statement)

References 12 publications

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“…Communal activity prompts spontaneous and creative discussion in groups (Choi 2013;Falk & Dierking 2013;Jeffers 2003;Pringle 2009;Rose 2006;Villaneuve 2007;Vom Lehn 2001). Emily Pringle defines art practice as a process of conceptual and experiential enquiry which embraces inspiration, looking, questioning, making, reflective thinking and the building of meanings.…”

Section: Group Meaning-makingmentioning

confidence: 99%

The art of silence.

Kowalski¹

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This dissertation argues that the role of silence as essential to experience the full aesthetic beauty of art in a museum setting. Museums have changed their focus due to socio-economic and financial pressures. They have changed from silent "temples" for art conservation and exhibition to places for interactive art education, entertainment, and social gathering. The results of these changes have been both positive and negative. Attendance has increased, enhancing the museum experience, engaging more diverse audiences in museum activities, and dispelling the "elitist" image of the museum. These changes, however, have resulted in the loss of a silent space to quietly experience a personal and emotional connection to art. As the world becomes more urban, noisier, and addictively connected to technology, this study argues the need to include a silent experience in the art museum. This will enhance visitors' aesthetic, emotional, and educational experience with art.This dissertation is divided into seven chapters. Chapters one, two, and three explore the role silence plays in spiritual, aesthetic, and learning engagement. Chapter four examines the singular experience of wonder and its profound influence on the appreciation of art appreciation. Chapters five and six present silence and art from two vi perspectives: how artists reflect silence in their art works, and the silence viewers see in art. The final chapter seven presents a model for a room dedicated for viewing art in silence. This experience would provide an opportunity for visitors to connect personally, deeply, and emotionally with a work of art without influence from others.Each of the chapters cites research examining how silence develops the capacity to observe art with more detail, create a more personal and emotional connection with art, and to experience the beauty of art for its own sake before looking at it from an historical and analytical perspective.Further study is needed to assess the value of a silent experience in an art museum. This study provides evidence that silence can positively affect the visitors' involvement with art. Observing art in silence increases the visitors' ability to discover more detail in a work of art and connect personal experiences with it. In an increasingly noisy world, a silent space removes outside distractions and offers visitors an opportunity to have an emotional connection with the beauty of art.vii

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