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The Journal for Artistic Research (JAR) is an inter-national, online, Open Access and peer-reviewed journal for the identification, publication and dissemination of artistic research and its methodologies, from all arts disciplines.

This recording is part of: Education Practice at Tate 1970-present Programme A Monday 23 February - Friday 27 February 2009 In considering how museums have significantly reconfigured their relationships with audiences over the last decade and given how Learning as a department carries a notable responsibility in developing audiences, this series of interviews with present and past members of Tate staff aims to create an understanding and account of how Education practice within Tate has historically evolved from information and explanation to interpretation, engagement to participation, informal knowledge to professional research. Questions to be considered in this programme in relation to Education practice are: * Since its inception what are the historical legacies of the original Education Department within the operation of Tate and more recently Tate Britain? * Where has Education been historically positioned and now? * What kind of agency does Education hold within the production and reproduction of knowledge within Tate? * What is its relationship to a research practice? * How does it configure its publics?

(It's a long interview, so I'm listening to it in the background whilst doing other things, which might mean I'm missing things...) But two things that stand out so far: she champions the position that quality and accessibility are not mutually exclusive; and she speaks of 'publics' (much as we speak of 'audiences', plural). Now, these might seem like self-evident and perhaps somewhat lofty aims, but what does it really mean? How do we embed these values/ideals in our programs? I think these are amongst our biggest challenges...

the interview is way too long but there are some good bits. She doesn't really offer any instruction about quality and accessibility not being mutually exclusive but just champions the cause. In fact there's a lot of cause championing and she says she has a fabulous team who help her out and do everything. She seems to be embedding scholarship in their discipline which seems like a good thing to me.

Funny title, interesting article. A good round up of (relatively) recent shifts in educational practice that have strong implications for learning in the museum. It's by Anna Cutler from the Tate, who gave one of the interviews in the 'Tate Encounters', posted by Sheona below.

I think what's good about this is the way she has taken on board the recent scholarship into teaching and learning and conceptualizes public and education programs in galleries through this without thinking that it is the same thing - she looks at what is unique and where the strengths lie.

I just posted this and now realise it's old news for you all, still the article is probably worth another highlight.

Blog in response to a pretty damning article about the Brooklyn Museums community engagement or 'popularism' http://www.nytimes.com/2010/06/15/arts/design/15museum.html?scp=1&sq=brooklyn%20museu

Been travelling in the States. First to Washington to present the George Brown Goode Memorial Lecture at the Smithsonian (talk titled How Web 2.0 is Changing the Nature of Museum Work), then to the American Association of Museums Conference in Los Angeles (presentation titled The Museum's new website: transforming educational audiences). Here's my notes/impressions of the state of our sector.

lots of good ideas being circulated in these conferences

You might find this interesting, good summary of what's going on.

Really interesting - thanks, Francesca. The first 10 examples are well-established, widely-used (social media, blogs, mobile apps, flickr, etc), but it gets more intriguing as you read on and see the very creative ways museums are adapting these technologies to suit their collections. LACMA (home of the Rainn Wilson 'celebrity-takes-over-our-twitter-feed) and The Walker Art Centre are particularly good. The Walker have a photo booth at their party-oriented 'After Hours' nights, and the photos go directly to flickr - very clever and fun http://calendar.walkerart.org/afterhours/index.wac

the latest installment of M&G NSW's audience study. No detailed docs yet, but a nice synopsis - I'll update with the full report when it comes out.