3: net.art

Developments in technology have shaped the art world for thousands of years. Concrete. The arch. Oil Paint. Photography. The computer. The internet. Art history is littered with examples of technology’s impact on art and society. Each century sees art change in light of such developments. Yet net.art is something different than the advancements of previous generations. It is by definition both medium and museum. It is tool and technique. It is concept and communication.
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The internet is an extraordinary thing.

I made my first website in 1996. http://www.voicenet.com/~melachri/steph.html It doesn’t exist anymore. At some point in time, my dad switched from a local ISP to Verizon Fios.

     And there went my website…

It was made with Microsoft Paint. A portrait of a girl that somewhat resembled me, age 10, spray painting “Hello” on a brick wall. A static image, not the interactive play of http://graffiti.playdo.com/. It did not require fancy tools. I have no concept of Adobe programs. I simply introduced myself to the world in a way only a 10 year old could—my age, grade, interests, and siblings—made with the spray can and text tools of Paint.

The site developed further when I participated in a web camp for kids—all digital, from our own homes. They mailed us software, organized chat rooms, and assigned weekly tasks. By the end of the camp, I had a five-page website with an “About Me” page and links to my favorite websites.

Fifteen years later, I have three blogs. Which I tweak in html because I want to be able to manipulate each item individually. I cannot be limited by four standard picture sizes. My blog width is 681 pixels—why would I display pictures that are 640 pixels wide?

But is a website net.art? Not all net.art are websites. Not all websites are net.art.

     Sounds like a tricky logic problem with overlapping sets.

Sometimes the Internet is a vehicle for disseminating art.
Other times, it is the medium, the tool, the subject matter, and the distribution.

In Dear Photograph, art is found in interplay. A photo within a photo, enhanced a caption, viewed by millions around the world. Each image might be considered art, but the compiling of images, the request for submissions, the caption, the reblogs, likes, and comments—those aspects are just as important. The net.art is not complete without each component.

Taylor Jones began this project as a web-based work less than one year ago. He stumbled upon a picture of his brother sitting at the kitchen table. Ironically, his brother was sitting in the same seat at that exact moment. Begin picture within a picture.

At the time, Jones worked for Blackberry in the social media department. He quickly realized this was a worldwide net.art project waiting to happen. Jones only displayed six of his pictures in the initial site and, in the vein of Post Secret, asked for viewers to enter the art in participation.

The concept of photo within a photo was not new. It was the interactive display, the call for participation that flattened the world and brought people together in nostalgia. Unlike a traditional gallery or museum setting, each individual photo/caption displayed on Dear Photograph has a built-in venue for interaction. Comment, like, reblog. It is this viewer participation that fulfills the meaning.

Yet the website as a whole, viewed as net.art, is also interactive. Create and submit—What photo will you select? What memory will you revisit? And what will you say about it?

While the site is interactive, Jones selects one submission to post each day. His daily preferences are not bound by linear or non-linear modes. Each additional entry to the net.art is a node of information that can spiderweb indefinitely. Various modern and postmodern questions find themselves part of the dialogue in Dear Photograph, along with current events. SOPA, we’ve got that covered. Self-portrait. Ancestry. History. Progress. But each photo relies on duplicity, collage, time, history, and interaction with text to communicate. Like the work of dada, cubism, surrealism, and many postmodern artists, “cultural fragments assembled and juxtaposed to create references to life through sensory and representative associations.” A mixed reality. The multiplicity of the scene, arranged ever so carefully but still showing incoherencies—the passage of time. Coupled with reflective text. A longing. A wish. A remembrance.

Even the font is reminiscent of an old typewriter. The simple white platform lets the art speak, highlighting the visual, illuminated by the written, and embraced by the populous.
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The site is not even a year old. I wonder what the relationship is between internet years and human years. It seems like internet years pass even faster than dog year. Yet the site received 20,000 hits daily last month. And visitors submit 20 images a day. There is a cultural desire to go back to a time before Photoshop. A crude, primitive, simple life. When yearbook collages were done with paper and scissors.

The art is personal.
The art is collective.
The personal draws us in, pulls us to our own memories, our own experiences, our own longings.
     And allows us to share.




Dear Dear Photograph,

You make me miss printed photos. You remind me of childhood experiences. You strike a chord for yellowed photographs covered in fingerprints. Covered in love.

You connect me with people around the world. Our commonalities. Our hopes, desires, and longings.

You make me ache for a history, living in a land that changes daily. A land where my oldest pictures are not even five years old. Not the land of my childhood, of my heritage. Just a land of my sojourn.

     Stephanie



Assignment: Critique of one Net artwork using the following five prompts to guide the essay, in which the Internet is the medium of the artwork, and to consider the nature of Net Art and interactive aesthetics. In what ways does the artist use the Internet as the medium of his or her art? Is the art static, dynamic, or interactive? Is the Net art linear or nonlinear? Discuss the central visual metaphor or concept of the Net artwork that is evident in the choices of colors, typography, textures, layout, images, navigation, interactivity, and participatory features. Discuss the Net artwork in terms of its social, political, environmental, and/or personal relevance.

References:
"Web Work: A History of Internet Art" by Rachel Greene (2000, May) in Artforum, 38(9), 162-169 & 190
"Ten Myths of Internet Art" by J. Ippolito (2002) in Leonardo: Art, Science, & Technology, 35(5), 485-498.
https://elearning.psu.edu/courses/aed811/sites/edu.courses.aed811/files/content/811_netart.pdf
http://www.guardian.co.uk/artanddesign/2012/jan/04/dear-photograph-pictures-travel-time
http://www.huffingtonpost.co.uk/2012/01/06/dear-photograph_n_1188938.html?ref=uk-culture#s591447
http://www.newyorker.com/online/blogs/photobooth/2011/09/dear-photograph.html

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2: Avatars and Subjectivity

A second venture into the world of avatars.

My first experience had little guidance into how to create a body type. I decided to forgo any tutorials and just experiment. While my first reaction was to create an avatar the mirrors my physical form, the hypersexualized bodies were too sexy-video-game-creepy for me. False advertising. I’ve been to the gym three times this week. I do not look like that. Not even close. Which is part of the reason I go to the gym.

Body image and identity is a curious struggle. Since elementary school, I’ve been aware of the physical characteristics of the body I was given. I remember...

     seeing the one African girl in my Sunday School using a brown crayon, not Crayola “Peach,” to color in her coloring book.
     thinking my hair was getting darker, no longer blonde, because my family moved from California to Pennsylvania.
     knowing I was fat.

And then I moved to Asia. Where it’s not considered impolite to point out the obvious, to your face. “Miss M, why are you so fat?” You might think I’d tell that 4 year old his question was impolite, but it’s not in Korea. Grandmas yell at their granddaughters for gaining weight. Mothers, coming to discuss their child’s education, instead comment to the female teacher about her weight gain or loss. And parents offer plastic surgery as rewards for good grades.

     But I have light skin, big blue eyes, and an even bigger nose.

Just when I think my skin is as pasty and ugly as it can get, my vegetable lady gives me the most sincere compliment on how beautiful my skin is these days. And when I’ve been struggling with whether my bangs make my nose look huge and my face look especially fat from the side, one of the teachers at our early childhood center tells me she’d switch bodies with me. She’s a curvy Chinese of maybe 100 lbs, but she wants my eyes, my nose, and my skin.

Reading Christine L. Liao’s perspective on the gendered body and the meaning of the visual with avatars, I heard the Asian struggle, I felt my own struggle, and I remembered bypassing the human to become a panda in Second Life. Less creepy than a hypersexualized body? Maybe not. What weirdo walks around Second Life as a xiong mao?

I showed my panda, 美世, to some male coworkers in the staff lounge.

“I’m a panda.”

     “With a tight butt!”

Oh. Not what I was going for. Like Liao, I couldn’t leave the basic human anatomy. I struggled for the next hour to add layers of insulation, but cookies are much more effective than the sliders on Second Life. It's not a panda body; it's a panda costume on a human body. I can't achieve the Po belly that I desire. What message does my panda and her tight butt portray to others in the world? She shocked my coworkers. Is she me? She's my China-side masters-studying self. The part that is pushed uncomfortably into digital "realities" on a Sunday afternoon when I'd rather be drinking tea with a friend or walking along the Yellow Sea. I'd even take the treadmill at the gym over Second Life.
_

At Voki, I went straight for the non-human avatars. I was nearly set on being a snowman when I found this large-eyed cartoon child, with a matching body type. I just played for a few minutes—could I find something that looked like me? Like my Mii at my neighbor’s house. A hairstyle with pronounced bangs. Tweak that hair to be a little more red, just like that box from Clairol did three weeks ago. Blue eyes, not green. And what clothes best fit me? The yellow striped hoodie didn’t seem like a lie. I do wear horizontal stripes. I bought lots of mustard clothes while shopping in the
states last month. And the red/blue/yellow just made me happy. Accessories? Suitcase. Yes, that is most fitting. And a background. After peeking through the uninspiring selection, I am uploading my own background. I’ve been uploading. For over an hour. I think this is a fail. Image too large, internet too slow. I was looking for something global, something local, my school, my house. I found one with me. Better Life & City with Art. Me and Me, in the same image. I liked the idea. But now I don’t like the orange uploading “Please Wait” words.

I walked to the vegetable stand, two grocery stores, and back, and still “Please Wait.” I think I broke it. The sweet lady at the vegetable stand told me that my face was thinner now. Before it was…and then she gestured to show a really puffy face. Not it is…and she gestured a longer, leaner face. She also complimented me about my hair. She’s so kind, in her absolutely-politically-incorrect-to-an-American way.

I guess I need to reload the page and try to recreate myself.

I’m an oddball. The “realistic” cartoon version of me is found under the “Oddball” category. What does that mean?


     

The restrictions make voki more user-friendly than Second Life, at least to a newbie. Lots of presets. It’s quick to use, but I can only make small tweaks. I can’t change the colors of my clothes. I can’t make my hair longer. I can’t hold a suitcase and a pencil. (Trust me, I always have a pencil when I travel. On average, each of my bags has four pens, two pencils, a permanent marker, and five bottlecaps.) And most frustratingly, even though I can upload a background, I can’t adjust the placement/resolution/stretching that is happening to my picture.

I used text-to-speech because I liked the mechanical sound to go with my avatar. This is a new set of limits. I experimented with every female English speaker to see if she could pronounce ni hao correctly. Karen from Australia has the closest pronunciation. Even when under the Chinese speakers, I have to type ni hao fo-net-ick-lee as knee how. And now that I’ve made a recording, what happened to my suitcase? Where do I file a claim for lost luggage?

That red frame around the player is garish. I wish I could go back and change that, without having to recreate everything. Limitations.
_

The avatars are me, or representations of me. It's who I've chosen to present myself as. I make physical choices every day. Hair dye or natural? Bangs or clipped to the side? Straight or curly? Cardigans. Turtlenecks. And lots of scarves. The digital world removes some limitations of my physical body but adds others, either based on technical skills or social constraints (gendered, hypersexualized bodies of youthful adults, for one).

I had two friends in college who dressed extreme. They were God-loving evangelical Christians with afros, paperclips for earrings, Catholic school girl skirts one day and parachute pants the next. The clothes were absolutely extreme. At separate times, I asked each if they looked at their clothes like costumes. I didn't understand how they could vary so greatly from day to day. I have a much more consistent aesthetic. A limited view of me, slowly evolving, which now includes a panda. Like Plato's Theory of Forms, these are only imitations of my essence. Reflections of the real, limited either by human flesh or ones and zeros.


The avatars get their power from me. Apart from the roving eyes of my voki, following your mouse across this blog, they do not act on their own. They are both hollow in their lack of meaning in themselves and inability to function apart from me, yet amplified, in their projection of aspects of myself.

     The physical—auburn hair, blue eyes, light skin.
     The interests—color schemes, plays on words.
     The geography—a traveler finding meaning in China.

I can act through the avatar, assuming I want to spend time in that world, bound by that body. I can handle my physical limitations; I have dealt with them for 25 years. I am continually frustrated by digital limitations. Pandas that are not fat enough. That might have hair now. An odd brown bowl-cut. That can't load quickly enough in my current physical location. Not to mention my inability to "see" through the video game perspective. This mouselook is unfamiliar to me, a video-game/Second Life tourist.

Fantasy worlds do not attract me. Fantasy bodies are not alluring. The diversity is fake. As Liao and others note, the virtual world might release one from the physical world of gender, ethnicity, and species, but it lacks a diversity of the non-beautiful.

The aged.
     The young.
          The differently-abled.

They are part of the kaleidoscope, part of the array of beauty on the earth. Virtual worlds' ability to transcend such perceived limitations only continues to devalue those characteristics in society. While opening ourselves up to a new range of body, be it wings, cat ears, or purple skin, we now removed the less-than-ideal. A plastic surgery car wash. And we have replaced those distinctions with new ones. Liao writes of the hierarchy of the physical in Second Life. "Prim hair" is desired. People are willing to help you adhere to society's standards of perfection.

Just a new system of constraints, not a release from constraints.

It's part of being human—the need to classify, to organize, to evaluate the world. But we do it to each other. Virtual worlds might alter the limitations, but they do not alter human nature.
_

I narrowed my hips, plumped my belly, and found ways to change my breast size, buoyancy, and cleavage. Pandas with buoyant cleavage. Ugg. And it seems the bowl cut hair is just visible when I'm editing my appearance.

          Loading...Loading...Loading...


How do you encourage diversity in an alternate reality? Force people to be differently-abled? To be old? To be young? To be fat? To be short? To be counter-culture? Like Liao, that could be the objective. To defy acceptable looks.

At a high school level, this might be a visual culture exploration of advertising, Photoshop, the Dove campaign for real beauty, celebrities that have dared to photograph without alteration, and pop culture remixes of the photoshopped. Making a spoof advertisement: Maybe it's Maybelline, maybe it's Photoshop! It could be helpful to compare beauty magazines aimed at different ethnicities. After looking at what is privileged and what is desired within each subgroup, and even the domain of Second Life, one could create a counter-cultural avatar. The antithesis of the desired. At an elementary level, it might be a role-play self-portrait, imagining oneself at a different age or living in a different country, with different genetic features. This could involve researching commonalities among elementary kids around the world---What does school look like to them? What is their home like? What clothes are necessary? What clothes are cool? How do they wear their hair?---and creating an avatar to fulfill this projection of themselves in another culture.


Assignment: Create a speaking avatar at voki. Discuss the limits of representation in the voki application and describe your imagination of a human identity outside those limits. Next, download Second Life®, install, join with a unique name, and the selection of an avatar from SL's limited human representation. Next go to "appearance" and change the avatar's appearance to a representation of an empowered persona. Discuss what is an avatar, in what ways is socio-political agency performed in the avatar you created, what are the landmarks that you use to locate yourself as teacher, what are the limits of representation in the virtual world avatar application, and how might an art lesson that involves creating avatars become a critical avatar pedagogy to encourage/ensure virtual diversity, multivocality, diverse and multiple perspectives?

References:
Liao, C. (2008). My metamorphic avatar journey. Visual Culture & Gender, 3, 30-39.
Knobel, M., & Lanshear, C. (2008). Remix: The art of craft of endless hybridization. Journal of Adolescent & Adult Literacy, 52(1), 22–33.

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1: Socio-Techno Interfaces and 2020 Vision

Technology as toy.
Technology as fun gadget.
Technology to streamline existing processes.
Technology to make learning relevant while still teaching old skills and with old learning methods.

          Technology as new skill, new pedagogy, new art.

Anderson and Balsamo envision a new learning environment (in 2020) based on a new student, the Original Synner. Knowledge is not the end all. Synthesis, combining disparate ideas, generating something new through connections, is quality in learning. And thus, simply replacing old teaching methods with their digital counterparts is not effective. Lectures taped onto youtube and streaming around the world. Old style. Collectives pooling resources and remixing. New culture of learning.

As I look at various technology-human interfaces, some seem better suited to classroom use. In my niavite, collaborative tabletops and interactive floors appear to be glorified iPad games. While it would be fun to play Coca-Cola themed games on the floor of a mall, the software demonstrated does not seem well-suited to art education. Using your hand or whole body does not interest me when the activities still resemble Funnels and Buckets, a mathematics game my older brother played in MS-DOS, and manipulating random abstract designs created by the computer.



Other interfaces allow for visual creation governed by user skill. This can be developed through experimentation, rather than a formulaic digital spirograph. When using the I/O brush, the intricacy of artwork is limitless. The brush can be used simply to pick up a color, texture, or pattern. With advanced skill, it can be used to pick up moving image, creating an animation across the canvas. This human-technology interface would be ideal for exploring digital art with elementary students, linking traditional painting with digital painting and animation. As soon as a child can hold a brush to paint, they can hold the I/O brush. No mouse coordination required. I am particularly drawn to the animation possibilities when the digital paint is video, such as the ladybug that crawls across the canvas.

Similarly, Easel is child-friendly in its approach to digital painting. Users literally dip the brush into paint that represents which camera they are using. The complexity of the images and layering lends itself to an upper elementary project. These students have the higher level thinking to combine images, visualizing and planning how the videos will relate. A synthesis of three local views. Though equipment-dependent, both of these set-ups would be great extra-time centers in my classroom or activities for choice-based art education. Currently, they are the stuff of museum exhibits, but mass-marketed I/O brushes would find an easy home in my future classroom. The two interfaces would allow students to explore video and digital art while connecting them to artists of the recent past, such as Paik Nam June.

The explo-grabba webquest, at first glance, is most easily incorporated into my classroom in 2012. While it would require a special visit to a computer lab, the students could follow the step-by-step instructions, exploring net art and creating their own digital work. Navigating the internet, even in specific webquests, is a natural part of their life. Yet modifications would be necessary for the site to be truly be effective. First, the 85% of my students that are ESOL would struggle with words like “perceptions” and “collaboration.” Second, the sites linked in the quest to explain color theory and symbolism are too advanced for my students. Also, the link about the elements and principles is broken. Still, my biggest concern comes from the final project. I debate back and forth in my mind about the use of Photoshop v. free software in the K-12 setting. Though Photoshop is industry-standard, my students will not be able to go home and explore it on their own time. For this reason alone, open-source software like GIMP might be a more attractive solution. (Our school prefers open-source for just this reason. Personally, I find GIMP clunky and very difficult for upper elementary students to navigate, especially on Macs.)

Anderson and Balsamo also suggest the use of open-source software, arguing that students should be taught to teach themselves software, producing “students who are able to move more fluidly from one platform to another, to adapt to the new applications or revisions of existing programs, and most importantly, to develop their own conceptual literacy about how software functions and the uses to which it may be put.” (256). This change to GIMP, combined with the language limitations and the broken links, would all lead me to attempt the project without using the webquest site. Ideally, the site could be updated and include a kid-friendly exploration of color directly on the site. Also, I would prefer each step to be its own page, not pages labeled intro, task, process, etc. This would make the quest better suited to my situation.



Teaching Philosophy:
     2020 Vision


Thinking forward to the year 2020, five important areas to teach elementary expatriate children living in China might be...

     Problem Solving
     Visual Communication – Creators
     Visual Communication – Critical Receivers
     Fine Motor Development
     Cultural and Historical Studies




Taking another look at the interfaces discussed above, I/O Brush and Easel are both useful in developing motor skills for elementary students while working in a digital format. Using the two interfaces allow the students to be creators of visual communication and problem solve, as the artists creatively explore video as paint and varying levels of control. Studying past examples of video art, such as Paik Nam June, connects students to art history and open the door for east/west discussions of art and culture. The explo-grabba also relates to visual communication, exploring color and symbolism as receivers and then creators. Using a partner's phrase is a problem-solving task that pushes students to stretch their creativity. Navigating GIMP involves trial-and-error problem solving, a normal part of born digital generation's interaction with technology. These and other interfaces could be easily woven into the classroom experience of elementary art in 2020 as students develop in the aforementioned areas.



Assignment: Explore how technology-human interfaces could be used as they are or imagine them differently for purposes as an art educator. Be imaginative and specific about what the interface is and how it could use it in future teaching, integrating ideas from the reading. Then visualize teaching in 2020. List five areas important for students to learn from art education in this specific context as a teacher in 2020. Create an animation that visually and dynamically expresses these futuristic teaching beliefs. Add a rationale for how the previously discussed interfaces fit this philosophy of art education.

References:
Anderson, S. and A. Balsamo. (2008). A Pedagogy for Original Synners. Digital Youth, Innovation, and the Unexpected. 2008. 241-259.
Funnels and Buckets video
I/O Brush image
Explo-Grabba webquest screenshot
Grabba Beast image (original creation)

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Informal Learning: Final Project

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An Informal Task

In my undergraduate degree, I was privileged to take three study trips to Europe with the Dean of Visual and Performing Arts at Kutztown University. One speech he would always give at the beginning of the trip was that he wanted us to get lost, and not just metaphorically. He wanted us to get to a place where we didn’t know where we were, then find our way back. It was informal learning—learning through life-experiences, following your interests, and problem-solving. Using any and all available resources to experiment and see what you could make of the situation (Thomas and Brown, Chapter 9).

When have you found yourself lost? What resources did you draw upon and how was experimentation a part of finding your way again? If you can’t recall a time when you’ve been lost, perhaps you can travel within the Google Art Project and get lost in learning. Explore, follow your whims, and see where it will take you. Get lost in the halls of the museums from around the world, then find your way back, perhaps through the collections feature. Then post about your wanderings.


Assignment: Post a blog task as a challenge for readers to explore the topic of informal learning.

References:
Brown, J. S. and D. Thomas. (2011). A New Culture of Learning: Cultivating the Imagination for a World of Constant Change. CreateSpace.
Starry Night Detail: Google Art Project

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What is the Value of Our (Informal) Learning?

I am supposed to be writing about the evaluation or assessment of informal learning or its impact on learners, but instead I'm just saddened. I opened up the course text to read the final chapter and found this intro:

When we think about what a new educational environment might look like in the twenty-first century, we can imagine a number of things. Imagine an environment that is constantly changing. Imagine an environment where the participants are building, creating, and participating in a massive network of dozens of databases, hundreds of wiki and websites, and thousands of message forums, literally creating a large-scale knowledge economy. Imagine an environment where participants are constantly measuring and evaluating their own performance, even if that requires them to build new tools to do it. Imagine an environment where user interface dashboards are individually and personally constructed by users to help them make sense of the world and their own performance in it. Imagine an environment where evaluation is based on after-action reviews not to determine rewards but to continually enhance performance. Imagine an environment where learning happens on a continuous basis because the participants are internally motivated to find, share, and filter new information on a near-constant basis.

Finding an environment like that sounds difficult, but it isn't. It already exists, and in one of the most unlikely places: a new generation of games. Massively multiplayer online games--such as World of Warcraft, EVE Online, Star War Galaxies, and Lord of the Rings Online, to name a few...


I do not argue with this postulation, that such a dynamic learning world exists in mmos, but it breaks my heart.

Why can't we create the same collectives, the same camaraderie, the same self-initiated research and skill development around things that matter?

The text says educators dismiss games as frivolous or time-wasting, but I ask, how are they making the world a better place? It sounds like a beauty pageant answer, asking for everyone to be the change (I was given the Chinese name 世宁 "World Peace"...), but have we looked beyond our flashing computer screens to see the needs across the street and around the globe? My generation is investing hours upon hours to join together in guilds and hone our digital skills to advance through raids, only to pick up an item dropped by a monster that will help us with the next challenge. What if we came together to build houses for Habitat for Humanity? What if we volunteered at a soup kitchen, read books to kids at inner-city libraries, coached a youth sports team, built community gardens, or cared for orphans and widows? There is so much crying out for attention, yearning for help, desperate for someone to bring hope, and yet we devote our time and energy into these mmos. I am sad to hear that the model for informal learning is a world that I find increasingly offensive.

To learn is not noble. To be changed by learning and to be the change through learning, that is worth pursuing.

Homelessness, world hunger, immunizations, HIV/AIDS, sex trafficking, genocide, endangered species, global warming--my heart aches that the same passion for learning would be channeled into the real world problems (collective problems that they are, Thomas and Brown, Chapter 5) that assault humankind. Am I tainted in my perspective because I am not a gamer? Two different times today with two different people, I have lamented that my peers that are too busy playing life on a screen to play life in real life. To walk the Great Wall, to dive with the fish of the Philippines, to feed the poor, hug the brokenhearted, and build into the soul and spirit of their fellow humans.

Above all these thoughts, I hear Solomon's words: vanity, vanity, all is vanity. For if I do not love, I am nothing.

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Museums as Identity Practice

Not everyone who goes to a museum is deliberately test-driving a new identity, but my first trip to the National Gallery of Art in Washington, D.C. was just that. I was in 11th grade and on a family vacation when I asked my parents if I could go to the NGA by myself while they took my elementary-school-aged siblings to the Air and Space Museum. I'd been to the Air and Space Museum with my parents when I was an elementary student. It was then that I impressed Trekkies with my recitations of "these are the voyages of the starship Enterprise...", a little 6 year old girl who was constructing her identity from the passions and pursuits of her father. Now at 16, I'd recently become invested in the art world, and that museum across the mall was calling my name. But to explore the museum, and on my own, I had to try on this new role. What would the other visitors think? Would they label me an imposter? A newbie? Or was I the real-deal?

I danced my way throughout the museum, trying to look inconspicuous, as if I belonged, but awed by the architecture and thrilled to see Matisse, Rothko, and Van Gogh in person. I made it through every room, not wanting to miss a single thing, and even managed to convince my mother to return with me the next day. I remember looking with her at Chuck Close's fingerprint picture of Fanny. It was amazing! I still had familial love of space travel, but this inspired me.

The identity work that conspired that day in November 2002 has forever endeared the museum to me; the museum is part of the fabric of myself as an art-lover. I returned the following year, organizing a trip for National Art Honor Society students to visit DC and the NGA, then again in university for our student chapter of NAEA. While I have enjoyed visits to other art museums around the world, all of which could provide the same identity work for a young adult dabbling in art, just the photo of the atrium in the East Building awakens my love of this one particular museum. It taught me that I could participate in the art world.


Assignment: Recall a personal experience within a museum that fits the definition of informal learning.

References:
Rounds, J. (2006). Doing identity work in museums. Curator, 49 (2), 133-150.
NGA East Interior: http://myfavoriteart.blogspot.com/2010/09/national-gallery-east-building.html

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