Tag Archives: accessibility

Seeing without Sight: What I Learned About Photography at Sight Unseen

Written by Sarah WatkinsCanadian Museum for Human Rights

Reposted with permission from the Canadian Museum for Human Rights blog, the institution’s online presence for stories about the museum and its exhibitions, programs, education programs, and other news.  Check it out, and learn more about the exciting work happening at the CMHR. Original post by Sarah Watkins, September 3, 2016.

I have always believed that museums are powerful places. Visiting a well-done exhibit can help us to grow by opening our minds and hearts to ideas that we may never have even considered. For me, the travelling exhibition Sight Unseen: International Photography by Blind Artists is a perfect example of this.

On display at the Canadian Museum for Human Rights until September 18th, Sight Unseen showcased the photography of acclaimed international artists, all of whom have varying levels of vision loss. I was fortunate enough to work with some of these artists to create a lecture series called Shooting Blind, which explored the idea of taking photos without the use of sight. Now that I can reflect on this experience, I have come to realize that this exhibition and these artists have helped me to discover a new perspective on photography and ability.

A quiet evening on Winnipeg's Esplanade Riel. Credit: Shadow Walk/Sarah Watkins
A quiet evening on Winnipeg’s Esplanade Riel. Credit: Shadow Walk/Sarah Watkins

What is really interesting about Sight Unseen is that the art seems familiar but foreign at the same time. In today’s world, everyone takes photos – at home with family, out with friends, on our cellphones and tablets and with our digital cameras. The act of taking photographs has become commonplace, and for this reason we can all connect with this exhibition. The artists in this show, however, aren’t just taking photos or documenting a moment in time; they are communicating a message. They think very deeply and consciously about what they are going to photograph.

I used to take thousands of photos with my digital camera in an attempt to capture the exact thing that I was seeing with my eyes. Now, because of this exhibition, I have a different perspective. I take fewer photos, but I think more deeply about each one. I look beyond what is in front of me and consider why I am taking the photo. Am I trying to capture an image of the bridge, or the way that the evening light creates patterns out of shadows that reflect the shape of their source? Is it the fog on the water that is most interesting, or the stillness that it communicates the minute before I jump in the lake for a morning swim?

A foggy lake before a morning swim. Credit: Morning Swim/Sarah Watkins
A foggy lake before a morning swim. Credit: Morning Swim/Sarah Watkins

After visiting Sight Unseen, I see the photographs in a new way. When I look at the photo created by Evgen Bavčar that shows an outstretched hand touching the face of a stone statue, I no longer see just the objects. Rather, I see the careful exploration and discovery of something unknown. I can’t help but think of the artist, exploring the world in ways that I could never imagine, through the sense of touch. Similarly, I used to think of the amazing light paintings created by Pete Eckert as abstract art. His photographs created in a completely dark room with flashlights and other light sources seemed random. Now, the swirling colours and rays of light make me think of energy. Each model is represented differently, the colours and patterns as unique as the person they are highlighting. To me, this sense of energy was something previously imperceptible until Pete showed it to me through his work.

This change in perspective has me questioning what it means to be “able” to do something. If photography isn’t about sight, then maybe dancing isn’t always about what we do with our legs, and speaking isn’t always about sounds coming out of our mouths. This is the lesson that I have learned from Sight Unseen. There is more about us that is the same than different, so no matter what our differences are, we all deserve to have our humanity, dignity and rights respected in the same way.

*Sarah Watkins is a Interpretive Program Developer for the Canadian Museum for Human Rights.

Header Image: Gerardo Nigenda, Entre lo invisible y lo tangible, llegando a la homeostasis emocional (Reaching Emotional Equilibrium Between the Invisible and the Tangible).

Designing an Inclusive Audio Guide, Part 1

Written by Desi Gonzalez, The Andy Warhol Museum

Reposted from The Warhol: Blog, the institution’s online presence for stories about the museum and its exhibitions, programs, education programs, and other news.  Check it out, and learn more about the exciting work happening at The Warhol!

This is the first post in a series on the development process of The Warhol’s new audio guide. 

In 1964, Andy Warhol moved to a new studio in a large New York City loft and covered its walls with silver paint and aluminum foil. Dubbed the Silver Factory, this space became known as a gathering place for artists, friends, and celebrities.

The “open-door policy” of the Factory is something that we’re inspired by at The Warhol as we endeavor to create a communal and inclusive environment within the walls of our museum. One way we’re becoming a more inclusive place is through our commitment to making the museum friendly to visitors of all abilities. Later this summer, we’ll be soft-launching a new audio guide that takes an inclusive design approach. According to the Canadian Museum of Human Rights, this is a philosophy that designs with all users in mind from the outset:

“The inclusive design approach will ensure the museum experience is not only accessible for all ages and abilities, but is enriching and satisfying for all. It is not a design style, but an orientation to design.”

Through a series of posts on The Warhol Blog (cross-posted here at ArtMuseumTeaching.com), we’ll dive into the process behind our new audio app, which soft-launches later this summer in a limited release and will be available to all museum visitors this fall.

The story starts in the summer of 2014, when my predecessors in charge of digital engagement partnered with the education department to develop experiences for visitors who are blind or have low vision. One component of the project was an audio guide in conjunction with the exhibition Halston and Warhol: Silver and Suede. We used low-energy Bluetooth beacons to push content out to visitors based on where they are located in the museum—no need to read numbers on a wall label and type them into a device! Instead, the iOS application notifies you when there is relevant audio nearby.

In conjunction with the app, we also partnered with David White of Tactile Reproductions, LLC, to produce tactile representations of artwork in The Warhol’s collection. Tactile reproductions reimagine the contours and colors of an artwork as different relief layers, allowing visitors to use touch to gain an understanding of what a work looks like. Together, the audio guide app and the tactile reproductions allow visitors with visual impairments to delve into Warhol’s life and practice through senses beyond sight.

Working with our partners at Tactile Reproductions, LLC, to create the Andy Warhol artwork tactile reproductions. This one is a representation of Marilyn Monroe.
Working with our partners at Tactile Reproductions, LLC, to create the Andy Warhol artwork tactile reproductions. This one is a representation of Marilyn Monroe.

We learned a lot from these prototypes, but they were just the start. Since the beginning of this year, we’ve been hard at work to turn these prototypes into a reality. From the beginning of the process, we’ve kept four things in mind:

1. Put users first

We are committed to building an audio guide experience not just for community members with visual impairments, but with them as well. In our design process, we’ve worked closely with consultants with varying degrees of blindness. We talked to our partners even before we drew a single wireframe, exploring what makes a great museum experience and how they use technology. We also bring in our consultants to test prototypes at different stages of the process, allowing the findings from these sessions to guide the next step.

2. Don’t just build for accessibility

We strongly believe that if we design with different abilities in mind, we can craft a better experience for everyone. Even though we’re designing first for visitors with visual impairments, the audio guide will be available to all. Our consultants told us that they like to come to museums with friends and family, so whatever we design should be built for a social experience. Additionally, we currently don’t have an audio guide—and our front desk staff tells us this is one of the most common requests they get.

3. Reimagine the audio guide

Since we started from scratch with this audio guide, this was a great opportunity to depart from the usual way of doing things. We’re not the only ones rethinking the traditional audio guide: The newly-opened Broad Museum in Los Angeles is taking a cue from the irreverent and conversational tone of podcasts in their audio app; the British Museum has experimented with tours with longer audio files organized around themes rather than objects; and SFMOMA has designed a fully-immersive audio experience. In future blog posts, we’ll describe how we’re taking a different approach, splitting up audio content into smaller, modular stops and allow visitors to dive deeper if they’d like to learn more.

Testing the audio guide with our community partners.
Testing the audio guide with our community partners.

4. Start small, dream big

Everything I’ve described above is a tall order! From the outset of the project, we decided getting it right was more than ticking off all the checkboxes. For version one of the app, we have focused on only one floor of the building—floor 7, which displays works and artifacts from Warhol’s birth through to the early 1960s—but we’ve made it as complete an experience as possible. After launching and refining version one of the app, we want to expand to other floors of the museum.

Reviewing an exhibition floor plan with our community partners.
Reviewing an exhibition floor plan with our community partners.

Over the course of this blog series, we’ll be delving into everything from the user research we’ve done in conjunction with our blind and low-vision partners, to the process of imagining a new kind of audio experience, to the technical trials and tribulations of wrangling beacons and building our app from scratch. We’re glad you’ve joined us!

Accessibility initiatives at The Warhol are generously supported by Allegheny Regional Asset District, The Edith L. Trees Charitable Trust, and the FISA Foundation in honor of Dr. Mary Margaret Kimmel.

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Header Image: The Andy Warhol Museum by Scoobyfoo, Flickr.com, minor cropping to fit header size. CC BY-NC-ND 2.0

The Power of the Pre Visit

Written by Alex Brown and Jen Brown (Oleniczak)

Through a partnership with The Southeastern Center for Contemporary Art (SECCA), The Engaging Educator and ABC of NC, students ranging from 2 to 21 years old with Autism Spectrum Disorder came to SECCA as part of an art program funded by The Arts Council of Winston Salem and Forsyth County. Prior to the museum visit, SECCA and The Engaging Educator visited each class at ABC for a Pre Visit, something new for both the museum and the school. This was also the first time the school had taken a field trip to a contemporary art museum.

While educators can all agree that programs for students on the spectrum are extremely worthwhile, many institutions, educators, and schools have trepidation in approaching these programs – but knowledge provides comfort. While the idea of setting up programming for students on the spectrum is multi-faceted, an under-discussed part of programming is the Pre Visit. Going into the Pre Visit, we prepared a visual agenda, social story, and had a touch collection. Below, find our individual reflections on the importance and outcomes of our short but powerful Pre Visits:

Feels Like the First Time – by Alex Brown

I am accustomed to meeting school groups ‘cold’ when they come in the door. I know where they’re coming from, the size of the group, the age range, and I speak with teachers prior to visits to discuss the scope and expectations, but it is difficult to know the feel of a school group if I haven’t met the students. Starting ‘cold’ and getting to know the students during a program works great most of the time, but it is simply not enough for every group. Students on the autism spectrum often require extra attention and care that can be difficult to provide with a ‘cold’ start. That’s when the value of the Pre Visit became clear.

Typical school programs at SECCA last between an hour and an hour and a half. Since most school programs start without Pre Visits, I spend the first five to fifteen minutes with introductions, discussions around the definitions of contemporary art, and a primer on the exhibition. This not only helps students get comfortable in an unfamiliar space and with potentially unfamiliar ideas, it also creates an opportunity for me to ‘read the room’ so I can find out what the students are interested in and the kind of experiences they are open to. ‘Reading the room’ can be anything from a discussion with the students to paying attention to body language. It becomes easier to read students as a program progresses and as discussions unfold. By the middle of a visit, most students feel comfortable in the space and are open to expressing themselves. This process can be decidedly different with students on the autism spectrum.

The ability to read an audience by paying attention to both verbal and non-verbal cues is based on an understanding of typical behaviors. I am not an expert on autism, but I do know that people with autism often behave in ways that do not conform to traditional behavioral norms. Their behavior is simply different, and it can’t be read using typical behavior as a baseline. This is what makes it difficult to start ‘cold’ with people with autism. I have led programs for special needs classes, special needs organizations, and group homes, and until recently I had never done Pre Visits. I have always met the group like I would have any other. Where most students that are typically developing are comfortable by the middle of a visit, some individuals with special needs did not feel comfortable until the end, if they got comfortable at all.

Through the pilot program and partnership, we included Pre Visits with every class. We met with each class for about fifteen minutes, and in that time we got to know the students, the students got to know us, and we introduced the students to SECCA, the exhibition, and museum expectations using a social story. The value of a Pre Visit became immediately apparent. In one of the pre-kindergarten classes, some students began to cry and showed signs of anxiety when we waked in the room. By the end of our visit, a student who was in tears when I walked in the room had taken me by the hand to show me around her classroom. Responses varied from student to student, but through the Pre Visits we established a shared foundation of comfort with the students. A foundation that carried over to their SECCA visits, eliminating the need to start ‘cold’ and opening more time to explore, experience, and make art.

 

It’s Not Just You, It’s Meby Jen Brown (Oleniczak)

I haven’t always been a fan of the Pre Visit. So much of what I believe in with improv-based education is the idea of focusing on the current moment – maintaining a presence in the here and now to honestly react and respond to that here and now. Initially, it seemed a bit contradictory to have a Pre Visit with that mentality. The ‘secret’ I’ve discovered after doing a lot of Pre Visits through multiple organizations, including The Engaging Educator, is: the Pre Visit is as much for me as it is for the students.

As one of the people that initiated this partnership, I was insistent on the aspect of a Pre Visit. Modeling the program after the Guggenheim for All program, I saw a lot of success in getting the students ‘ready’ for their visit to the museum, as well as preparing the teachers with expectations. As an educator that has worked with students on the autism spectrum, as well as an improv advocate, my mentality behind the Pre Visit need was simple: while when you’ve worked with one person with autism, you’ve worked with one person with autism, and people are different every moment, it’s imperative to understand individuals where they feel comfortable and where they don’t. Yes, every child would be different. Yes, we were going to roll with it and be flexible and connect to the moment – but spontaneity? NOPE.

Now is a good moment to dispel a misconception about me as an educator. I plan. A LOT. I over plan. A LOT. The reason I over plan? So I can be flexible within a great big structure I’ve planned for myself, scrap things when necessary, pivot on a dime, and connect to the people in front of me. That’s improv.

Back to the Pre Visit – by going into the students’ classrooms, a space where they understand expectations, rules, and interactions, we could see how they connected with those consistent expectations, rules, and space. We could see that the high school class was VERY responsive to the prompts given to them, that the elementary class moved around a lot and like to hold our hands, and that the kindergarten class loved counting. We noticed the wanderers and the ways the teachers interacted with the students by saying, “follow the leader” to line up and the student’s attention span.

Yes, the students got to know us. Absolutely, they heard the social story, learned the expectations, practiced a ‘museum walk,’ and touched samples that would also be at the museum. We got to tailor and inform where we met the kids because of the Pre Visit. We were able to connect with them at a completely different level and prepare with more than just the teacher information (which is so valuable! Never stop doing this, teachers!)

There is an improv and storytelling principle of “starting in the middle” – essentially you get more accomplished by starting in the center of a conversation versus using time with exposition. The same happens with a Pre Visit – instead of using time to assess the group, you have a baseline. You can begin in the middle, and fine-tune the plan based on the individual moment of that student – the student you already have a relationship with. And how much better is that museum visit when you’ve increased your structure – when you’ve over planned for things, thought of possibilities, different directions, and prepared properly for anything? That’s where my flexibility as an educator comes in. Not from an “anything goes” attitude, but a larger structure to move around in. And a Pre Vist built into a special needs program, specifically one for students on the autism spectrum, makes my structure even larger, and my flexibility even smoother.


Have you had success with a Pre Visit program, or working with students on the autism spectrum? Share your comments, challenges, or best practices.

About the Authors

JEN BROWN (OLENICZAK): Founder and Artistic Director of The Engaging Educator, a NYC, LA and Winston Salem based organization that specializes in improv based education and development for the advancement of professional, social and communication skills. Through The Engaging Educator, her pedagogical approach has trained educators, students, professionals and individuals from organizations such as W Magazine, SFMOMA, Viacom, Columbia University, The Field Museum, MOMA, UNICEF, and Saks 5th Avenue. Recently the company opened a non-profit Foundation, offering free and low cost improv workshops to educators, at-risk teens and adults, and individuals on the autism spectrum. She holds degrees and accreditation from Marquette University, City College of New York, St. Joseph’s University and Second City.

ALEX BROWN: Programs Coordinator and museum educator at the Southeastern Center for Contemporary Art (SECCA), in Winston-Salem, North Carolina. As a member of both the curatorial and education departments at SECCA, Alex designs, develops and leads educational programs, family programs, exhibition and non-exhibition-related programs and film programs. In collaboration with the Curator of Contemporary Art and the Curator of education, he is also responsible for creating SECCA’s interpretive materials. By developing and offering programs that appeal to more than just one audience, Alex strives to make contemporary art approachable and accessible to everyone. He holds a B.A in History, Ancient Civilizations and Classics from the University of Iowa and a M.A in Museum Studies from Western Illinois University.

Touch Tours for Students with Vision Impairment

Written by Amanda Blake, Head of Family, Access, & School Experiences, and Danielle Schulz, Teaching Specialist, Dallas Museum of Art

Reposted from the Dallas Museum of Art’s education blog DMA Canvas, where the museum’s fantastic education team writes about creativity, community outreach, technology, and insights into the field of museum education. 

Many people may not think that of an art museum as the ideal field trip location for a group of children with visual impairment, but when the Dallas Independent School District (DISD) contacted the Dallas Museum of Art (DMA) earlier this summer with such a tour request, we were eager to provide the best experience possible. When discussing the visit with vision teachers at DISD, they felt it was important to expose their students to art and wanted an experience that would illustrate to the students that they too have the ability to create and appreciate art just as well as any other student.

The Planning Process

The Dallas Museum of Art has never before offered guided touch tours to visitors with visual impairment, but after speaking with our Director of Exhibition Design, we learned that she fully supports inclusive gallery teaching, and thus was open to supporting the Museum’s first ever touch tour. We talked with our colleagues in the exhibitions and conservation departments and found that they too were fully supportive of trying out a touch tour with the DISD students. The DMA Sculpture Garden was identified as the best place for our inaugural touch tour, since the objects in the garden are designed for an outdoor space and are thus subject to (and able to withstand) a variety of natural elements. We also felt that it was essential for the students to have the galleries to themselves during the tour, so as not to confuse other visitors about the acceptability of touching works of art, as well as for the overall comfort of the students with vision impairment. We therefore decided to schedule the touch tour for a Monday, when the Museum is closed to the public.

Our next step in the planning process was to walk through the space as a group, making note of areas that may be problematic for someone with vision impairment to navigate. The team was comprised of education, conservation, and exhibitions staff, and everyone on the team raised thoughtful questions and contributed wonderful ideas! We discussed which works of art may be the best for a tactile experience, and our conservators suggested that the kids have the chance to touch the works of art without gloves (which is usually unheard of in other touch tours!). Our exhibitions team offered to wash and hand-clean the works we selected so that they would be nice and clean for the experience. And one conservator suggested we select works of art that were large enough to be touched by more than one student at a time, so that the students could talk to one another about what they felt as they each touched the artwork.

After squaring things away with the exhibitions and conservation teams, the education team began planning the educational experiences of the tour. We prepared for twenty-five students, ranging in age from six to thirteen years, all with a range of visual impairment. The majority of students in the group had some residual vision, while two students were very photophobic, and two were blind from birth. Due to the range of abilities of our tour group, our education team knew it was important to include a variety of artworks in the tour (in addition to those on the touch tour), integrate many descriptive explanations of works of art and hands-on activities, and to have numerous tactile objects available.

In the Galleries

When designing the overall tour, we selected a variety of objects that spanned time periods, artistic techniques, and geographic locations. We visited two contemporary art sculptures in the Sculpture Garden for the touch portion, two Abstract Expressionist works in the contemporary gallery, and a mask in the African gallery. Our aim was to engage all of the senses throughout our tour, as we believe that presenting multiple representations of content would effectively cater to the different learning styles of the group. We created a multi-modal experience by collecting auditory clips for sound stimulation, tactile materials and replica objects for touch, Jelly Belly jelly beans for taste sensations, and essential oils and scented colored pencils for olfactory information.

Touch tour with Ellsworth Kelly sculpture. Photo courtesy of Dallas Museum of Art.
Touch tour with Ellsworth Kelly sculpture. Photo courtesy of Dallas Museum of Art.

Each stop on the tour had a visual description of the gallery space and of the works of art we focused on, because it was important for us to situate ourselves, the children, and the art in space, as the sense of bodily awareness in space is something that many people without vision impairment may take for granted. Much of our time in the galleries was spent guiding students in tactile looking activities connected to specific works of art and facilitating conversations about texture and form. For instance, we created a reproduction of Jasper John’s Device so that the students could not only touch canvas and feel layers of paint, but they could also replicate moving the wooden stretchers back and forth across the canvas, while imagining the technique in which Johns spread the paint back and forth.

Recreating the movement in Jasper Johns “Device." Photo courtesy of Dallas Museum of Art.
Recreating the movement in Jasper Johns “Device.” Photo courtesy of Dallas Museum of Art.

In the African galleries, we focused on a helmet mask made by the Kuba people of the Democratic Republic of the Congo, and passed around raffia, cowrie shells, feathers and other materials found in the mask. Additionally, we played sound clips of the various animals that related to the mask.

Democratic Republic of the Congo, Kuba peoples, Helmet mask (mukenga),  mid-20th century, Dallas Museum of Art, gift in honor of Peter Hanszen Lynch and Cristina Martha Frances Lynch.
Democratic Republic of the Congo, Kuba peoples, Helmet mask (mukenga), mid-20th century, Dallas Museum of Art, gift in honor of Peter Hanszen Lynch and Cristina Martha Frances Lynch.

Relating to Richard Diebenkorn’s Ocean Park No. 29, we discussed how an artist could depict a place using sounds, smells, and taste. The students each ate a jelly bean and imagined the color they believed the flavor might represent. Next, they used a scented colored pencil to illustrate a place based on that smell. We also played sound clips of ocean waves and boat horns to recreate the Santa Monica locale that inspired Diebenkorn’s Ocean Park series.

Our tour concluded with a sensory drawing activity that took place at the large fountain outside the Museum’s Flora Street entrance. The students listened to the sounds created by the water in the fountain, and considered how the water (and space around it) might appear, what color the water would be, even how the smell would be rendered. We gave each student a piece of thin Styrofoam and a pencil to create their drawing of the fountain; the students were able to feel the indented lines they drew onto the Styrofoam and took turns sharing their creations with one another.

Until Next Time

This was an exceptional experience for DISD students, teachers, and DMA staff alike. One teacher who helped to organize this visit said that this experience “might be the only time this whole summer [the students] get this opportunity to learn tactually, through their auditory channels and their residual vision, which sighted people take so much for granted.” It was a transformative experience as well for our Museum. We are honored to have been a part of this experience, and cannot celebrate enough the fantastic support and collaboration exhibited by DMA staff from many different departments. A huge thank you to DISD for bringing their students, and a thousand thank you’s to the DMA’s conservation, exhibitions, visitor services, and security teams. This was a team effort and we appreciate the unified support and assistance—let’s hope this is the first of many touch tours to come!

Read more about the Dallas Museum of Art’s education programs, community outreach, and explorations in creativity through their educator blog: DMA Canvas.