LEARNING AT THE MUSEUM
The Nasher Museum of Art at Duke University is an interdisciplinary nexus and laboratory where students and scholars can investigate, explore and test knowledge. Confronted with a different kind of source material—objects and images rather than text—viewers are challenged to consider concepts and issues in a new way. Visual literacy is an increasingly important skill and an essential component of a 21st-century education. By providing the necessary tools and experiences to critically consider visual culture we empower students and scholars to search out their own answers. We encourage you to explore the tabs above and the activities listed below for ideas. For more about visual literacy, explore “How Do You Look?”
The museum’s academic program staff work one on one with faculty to design tours of exhibitions and collections in storage, lesson plans, assignments and installations that complement courses. To discuss the possibilities for your classes or research, contact Ellen C. Raimond, Ph.D., Assistant Curator of Academic Initiatives, at firstname.lastname@example.org or 919-684-5203.
To schedule a class visit to the Nasher Museum, email email@example.com with your preferred visit date and time.
The following ideas can be adapted to a wide range of course themes and critical issues:
Students identify works that illustrate key concepts from class (this is about looking and reacting, not finding a right answer). They write a headline and an image caption to explain the connection. Students present their captions in small groups and select one to present to the class. The class identifies the work and caption they feel best illustrates the concept. Excellent for test conceptual understanding and application.
What’s Your Issue?
Instructors identify issues explored in the course and choose corresponding artworks from the collection. Small groups are given an issue and relevant background material on the artwork. The students must discuss their issue in relation to the image or object and formulate a short presentation. Images can be provided for class presentations or students could come equipped with a camera. Excellent for issues-based courses or intermediate language levels.
Students are given cards with icons to signify a variety of responses to art or a particular theme (love/hate/confusion, agree/disagree) and are asked to place icons in front of works that elicit a response. Works that gain the most responses, or the greatest variety of responses, become the subjects of discussion as students explain their choices. Excellent to practice critical viewing skills and translating the visual into the verbal. Language courses: good for conversation and practicing the subjunctive.
Find and Seek
Students choose a work of art and write a short descriptive paragraph about it. They then exchange descriptions with a partner and must locate the other work in the gallery. When they find the correct work, they write their own response. Excellent for visual analysis, translating the visual to the verbal, and visual critique. Language students are required to practice vocabulary, grammar and expressing emotions and preferences.
Consider the Context
Students choose an artwork and, relying on close visual examination, consider their personal response (how they feel about the work and why they think that is) and the relationships between the art and its setting (what other works are displayed nearby, what are the relationships between them?). After reading the object label or background information, they evaluate how the work relates to its time period, cultural movement or a critical issue. They share their responses with classmates. Helpful for exploring opinion versus fact, and applying critical concepts to visual material.
Explore multiple viewpoints in a variety of ways and practice respectful discourse and dialogue.
- Choose one work of art for all students to write short personal responses (250 words). After sharing, they comment on one other’s perspectives, discussing commonalities and differences in approaches.
- One theme or concept is chosen and students are assigned to find a work of art they feel best expresses or elaborates on that topic. (This is a good way to test their mastery of the concept and critical thinking skills by asking them to apply it in a different medium than typically used in class, i.e. textual analysis.) Group discussion focuses on the variety of choices and possible differences in interpretation.
- Students each choose one work of art and write multiple short responses from a variety of views or utilizing different methodologies through the course of the semester (i.e. descriptive/ekphrastic, aesthetic, historical, personal, narrative, feminist, Marxist, semiotic, etc.).
Back to Back Drawing
Students are paired as viewer and listener. Viewers select a work of art and guide the listener to a position where they cannot see the work. The viewer describes the work while the listener attempts to draw it from the description. The listener is not permitted to ask for clarification, and the viewer is not allowed to see the drawing until time is up. Then the students evaluate the drawing together considering misconceptions and misunderstandings, assumptions and language choices. Excellent as a communication exercise, exploring visual language and description, and practicing foreign language skills.
Students hunt for works by following clues and a map. To get the next clue, they must answer questions about the works they locate. Excellent for developing viewing skills and cooperative efforts. Language application: developing vocabulary, reading comprehension and writing.
Foreign Language Activities
The Nasher Museum’s permanent collection and temporary exhibitions offer many opportunities to strengthen foreign language skills. The activities listed above can all be utilized in this context. Below are additional ideas and examples made specifically with language courses in mind:
- Label Translation: Students pick any work of art on display with a label and translate it. This exercise encourages close looking and increases vocabulary.
- Writing Labels: Students pick a work of art either on display or in Study Storage and write an original label for it. Labels can be edited by the instructor and re-written for content and grammar.
- Creative Writing: Students select an artwork on display or in Study Storage that will serve as the subject of a creative essay or final paper. The paper can be worked on throughout the semester and edited as new tenses and vocabulary are taught in class.
- Vocabulary Building: Instructors provide students with vocabulary lists for specific artworks on display, which they then have to identify, OR students select a work of art and make their own vocabulary list and then discuss the image with the class using those words, OR students are given the vocabulary list for a particular artwork and then have to write a short description/paper/label using some or all of the words.
- Translation of Art: Many images in the Nasher Museum’s permanent collection contain foreign text. Students can translate the text and consider how it enhances the image’s meaning (or vice-versa).
- Description/Imagination: Students work with one image in the galleries or Study Storage. With a partner, they write down a basic description of the work, including colors, forms, subject matter, etc. Afterward, they write down what they think the image is about. When each group has finished, they present their descriptions and thoughts to the class. A great way to develop close-looking skills, vocabulary, comfort in speaking to a partner and large group, and the use of subjunctive in order to express an idea or opinion.
- Mini-presentations: In advance of the class visit, the instructor collaborates with academic program staff to create a list of works from the museum that relate to the course topic. The instructor presents the list to the students, who each select a work of art to research. For the museum visit, whether in Study Storage or the gallery, students give a mini-presentation to the class on their artwork. Excellent for developing writing and oral presentation skills, and for learning more about the target culture.
Located in Wilson Pavilion, the Incubator will often be used for student- and faculty-curated exhibitions. Shows in this gallery will be installed for approximately two to three months at a time. Proposals will be accepted and evaluated on a rolling basis, but keep in mind that organizing an exhibition may take one year or longer and scheduling is dependent on the availability of the gallery. Please contact Marianne Wardle (firstname.lastname@example.org) in Academic Programs as soon as you have a potential idea for an exhibition. Information about the current exhibition can be found here.
The Nasher Museum offers classrooms and a lecture hall for teaching. All spaces are fully equipped with advanced AV capabilities. The University Registrar schedules the classrooms and lecture hall for semester-long use, and requests for those spaces should be made through the Registrar’s office. NOTE: These spaces are available only Tuesday-Friday 10 AM – 5 PM. If you copy Marianne Wardle (email@example.com) on your request, we can reinforce your request with the Registrar’s office.
If you would like to reserve a classroom for class discussion on a day your class visits the museum, please email firstname.lastname@example.org at least two weeks in advance.
To reserve the University Classroom or Lecture Hall for a special event, please contact Nasher Special Events, at 919-684-3321 or email@example.com, as far in advance as possible. Get more information on the Event Rental page by scrolling all the way to the bottom under Meeting Spaces at the Museum.
Only a small portion of the museum’s permanent collection is on view at any time, so a variety of tools are available to help you explore the Nasher Museum’s works of art, whether currently on view or in storage.
Guides for thinking about artworks and objects in a range of media, styles, periods and cultures can be found at How Do You Look?, our website promoting visual literacy.
Through the generosity of the Andrew W. Mellon Foundation, the Nasher Museum has a limited amount of funding to support to Duke University faculty and student research on the museum’s collection. Proposals will be reviewed on a rolling basis and grants will be awarded until the funds are exhausted. To apply, submit a completed application cover page along with a project budget and any other relevant attachments to Marianne Wardle, Andrew W. Mellon Curator of Academic Programs, at firstname.lastname@example.org.
The Nasher Museum’s Study Storage offers faculty and students up-close experience with works of art not currently on view in the exhibition pavilions. Facilities include works on paper with more than 3,000 prints and drawings; painting storage with works from the Renaissance to the present; and object storage with Greek and Roman pottery and glass, Ancient American ceramics and African and European Medieval and Renaissance sculpture and artifacts.
To arrange a visit to Study Storage email email@example.com at least two weeks in advance of the date you would like to visit. Most visits to storage take place between 10 AM and 5 PM.
Please note that all visitors are requested to leave bags and backpacks in the lockers by the Lecture Hall when they arrive. Only pencils are allowed for use in the exhibition pavilions and Study Storage and no food or drinks are permitted in these areas.
Study Storage is a gift of Christine and Pierre Lamond and Alice Martin Whelihan.
Gallery for Learning
Students can work with faculty to design installations in the museum’s Academic Focus Gallery relevant to their courses. The gallery is located on the main floor near the University Classroom. Departments that have utilized the Academic Focus Gallery include: Classical Studies; Cultural Anthropology; Romance Studies; Eurasian Studies and Art, Art History & Visual Studies.
The Academic Focus Gallery is a gift of Susan and Trent Carmichael and the Morrow Family.
Students in the course “The Archaeology of Death” report on objects from the collection. Photo by Marianne Eileen Wardle.
Exploring Art and Architecture—Foundations and Histories
October 1, 2017 – January 7, 2018
These works representing a variety of artistic media have been selected from the permanent collection by art history and visual studies Professor Susanna Caviglia for use by her students over the course of this semester. In “Exploring Art and Architecture—Foundations and Histories” (Art History 104), also co-taught by Professor Neil McWilliam, Duke University students develop skills in visual analysis and historical interpretation of art from antiquity to the present; examine major theoretical frameworks, key movements and concepts; explore how we look at and talk about works of art, investigate a variety of approaches to their study and how the social and political roles of art change over time.
The first selection of works “Drawing Foundations and Artistic Training” will be up through October 29th; the second selection “Body in Art” will be on view beginning on November 7th.
IMAGE ABOVE: Hendrik Goltzius, The Farnese Hercules from the series Three Famous Antique Statues at Rome, c. 1592. Engraving on paper, 18 3/4 x 13 5/8 inches (41.3 x 29.7 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Purchase of the Friends of the Art Museum, 1986.1.1.
Exploring Art and Architecture—Foundations and Histories
August 5 – September 24, 2017
Hendrik Goltzius, The Farnese Hercules from the series Three Famous Antique Statues at Rome, c. 1592. Engraving on paper, 18 3Ž4 x 13 5/8 inches (41.3 x 29.7 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Purchase of the Friends of the Art Museum, 1986.1.1.
This installation is inspired by The Prince of Los Cocuyos: A Miami Childhood by Richard Prince, the Duke University Class of 2021 Common Experience summer reading selection. The Duke Common Experience Program is designed to give incoming students a shared intellectual experience with other members of their class, with the summer reading choice as a key focal point. A committee composed of students, staff and faculty selected the book after an extensive review of numerous recommendations, along with input from the larger Duke community.
Richard Blanco’s memoir depicts a childhood and coming-of-age in the Miami suburb of Westchester during the 1970s and ‘80s. Surrounded by his Cuban-refugee family, Blanco describes his struggles navigating his identity, both cultural and sexual, and finding his place in the world.
In past years, Duke faculty and staff have responded to the themes of the book and the chosen artwork. This year, we have selected passages from the book that relate to the artworks, and ask for your responses to the questions included by writing on a comment card and placing it in a photo album installed in the gallery.
Copies of The Prince of Los Cocuyos can be purchased in the Nasher Museum Store.
IMAGE ABOVE: Alexander Kosolapov, The History of All…, 1990. Acrylic on canvas. Museum purchase, acquired with the assistance of Mr. and Mrs. Michael Wilsey, Atherton, CA. 2000.16.3. 50 x 80 in. (127 x 203.2 cm)
Europe in Transit: The Arts of Migration
Professor Helen Solterer
February 2 – July 14, 2017
Europe today faces waves of migrants from the South, as well as refugees from the war zones of the Middle East. This migration represents a threat for some on the Right as it feeds debate over the European Union’s ‘austerity’ policy that tightens restrictions for full rights in the EU. These political positions take for granted that a core of Europe exists, one assumed to be stable, even uniform. This course investigates the opposite view of European culture by considering currents of migration that have defined & enriched European cultures over centuries. It tests this view through the literary and visual arts, and takes an historical approach.
Duke Unversity seminar “Art History/Visual Media Studies/Romance Studies 202 and French 429” is structured as a collaborative seminar with the Nasher Museum, we explored artworks that could have been made by itinerant craftsmen, or could have been carried long distances by their subsequent owners. The seminar was designed, in part, as a practicum, initiating students in the preparatory work for a future small exhibition. The class is using this installation in the Academic Focus Gallery as a study space for the works selected from the Nasher’s permanent collection.
We consider these artworks in the contexts of first of A Seventh Man by John Berger and Jean Mohr, and Dispossession: The Performative in the Political, by Judith Butler and Athena Athanasiou, which give us tools for analyzing the arts of migration.
Chinese Art: 1900 to the Present
Professor Stanley Abe
October 15, 2016 – January 22, 2017
This exhibition for the class “Chinese Art: 1900 to the Present” offers the opportunity to view a small but distinguished group of Chinese art. The works span the history of Chinese art from the earliest periods (Shang Dynasty, c. 1500–c. 1050 BCE) to the twenty-first century.
Most important are scholarly objects—the brush, the ink stone and implements for producing ink, and identifying seals to afix in red on the completed calligraphy or painting. Writing and painting are a single process and act. The shape, density and nuance of the brushed line is the art.
August 6 – October 2, 2016
This installation was inspired by Bryan Stevenson’s memoir, Just Mercy: A Story of Justice and Redemption (2014), the 2016 Common Experience summer reading book for incoming first-year students at Duke. The works on display come from the Nasher Museum’s collection. They broadly reflect themes found throughout Just Mercy, including the law, the criminal justice system, imprisonment, and racial and socio-economic injustices. Twenty-three Duke faculty members have offered their personal responses to the artworks and to Stevenson’s book. Read their responses (pdf).
Click any image below to see in full.
Just Mercy is Bryan Stevenson’s personal account of fighting for justice in the U.S. legal system. While a student at Harvard Law School, Stevenson interned at the Southern Prisoners Defense Committee in Atlanta, Georgia, representing poor clients on death row. This experience inspired him to later co-found the Equal Justice Initiative (EJI) in Montgomery, Alabama. The non-profit organization provides legal representation to indigent defendants and prisoners who have been denied fair and just treatment in the legal system, most often due to racial and socio-economic biases. EJI also advocates for reforming the criminal justice system. In Just Mercy, Stevenson details several of the cases he has taken on as a defense attorney—individuals wrongly convicted of crimes and sentenced to death, children prosecuted as adults and placed in prisons where they were abused, and mentally disabled people, convicted and sent to jail, their special needs ignored. Working closely with the poor, the accused, the incarcerated, and the condemned has taught Stevenson—and Stevenson, in turn, teaches us—that everyone deserves justice and mercy.
Making Faces at the Intersection of Art and Neuroscience
March 26 – July 24, 2016
“Who sees the human face correctly: the photographer, the mirror or the painter?” –Pablo Picasso
A Bass Connections project team of faculty and students organized this installation exploring the intersection of art and neuroscience of making faces at the Nasher Museum. We see faces everywhere: in electrical outlets, in the headlights and grill of a car and even in the shadows of the moon. But why do we see faces in these objects, and what are the necessary elements for us to perceive them? Do representations of faces have to be realistic for them to be recognizable? And why do faces capture our attention more than other objects? Humans have a particular expertise for faces that biases our perception of them. From an artistic perspective, many of the works presented here push the boundaries of representation in their distortion of facial features, leading us to question the limits of what makes a face. For scientists, they may prompt questions about specific face processing neural mechanisms and the relationship between our perception and human nature. Many of these works seek to challenge our conventional ideas of what elements are necessary to compose a face, while others seek to reinforce them. By merging art and neuroscience, we can reframe our understanding of faces in artwork by exploring both why and how we see them.
This project is part of the work of Art, Vision, & the Brain, a Bass Connections team at Duke exploring the depictions of faces and how our brains make sense of our visual and social world.
Learn about Eye Tracking and Art from Pearson Lab.
Monica Huerta, Ph.D, Provost’s Postdoctoral Associate, Women’s Studies
Elizabeth Johnson, Ph.D, Assistant Research Professor, Neurobiology, and Associate Director, Duke Institute for Brain Sciences
Eleonora Lad, MD, Ph.D, Assistant Professor, Ophthalmology
Jeff MacInnes, Ph.D, Postdoctoral Fellow, Center for Cognitive Neuroscience
Guillermo Sapiro, Ph.D, Edmund T. Pratt, Jr. School Professor of Electrical and Computer Engineering
Marianne Wardle, Ph.D, Andrew W. Mellon Curator of Academic Programs, Head of Education & Interpretation, Nasher Museum
Kaitlin Henderson, Masters in Liberal Studies (Duke class of ’16)
Anuhita Basavaraju, Neuroscience Major (Duke class of ’18)
Peter Cangialosi, Neuroscience and French Major (Duke class of ’16)
Sophie Katz, Neuroscience Major (Duke class of ’17)
Eduardo Salgado, Neuroscience and Psychology Major (Duke class of ’18)
Christopher Yoo, Biology Major (‘18)
For more information about using the Academic Focus Gallery, contact Marianne Wardle, Andrew W. Mellon Curator of Academic Programs, at firstname.lastname@example.org.