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An Action Research Study on Inclusive Art Museum

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An Action Research Study on Inclusive Art Museum COLLABORATION AND CONNECTION: AN ACTION RESEARCH STUDY ON INCLUSIVE ART MUSEUM PROGRAMMING Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Shannon Thacker Cregg, B.F.A. Graduate Program in Art Education The Ohio State University 2020 Thesis Committee Dr. Dana Carlisle Kletchka, Advisor Dr. Jennifer (Eisenhauer) Richardson 1 Copyrighted by Shannon Thacker Cregg 2020 2 Abstract Research suggests that museums are not reaching their full potential for including visitors with disabilities (Bienvenu, 2019; Ginley, Goodwin, &, Smith, 2012; Kudlick & Luby, 2019; Rappolt- Schlichtmann & Daley, 2013; Sandell, 2019). Recently, scholars have critiqued art museums for their lack of accessibility (Kudlick & Luby, 2019) and exhibitions that misrepresent disability history (Sandell, 2019). The history of outsider art demonstrates how artists with disabilities are discriminated against in the art world (Prinz, 2017). Creative art centers, programs which provide artistic mentorship for adults with disabilities, are often positioned within outsider art discourse (Wojcik, 2016). Due to discrimination against artists with disabilities, art museums can increase inclusion through engaging with artists at creative art centers. Therefore, I utilized action research methodology to design and implement an integrated art museum professional development workshop for artists with disabilities at Open Door Art Studio, a creative art center, and community artists. The primary objective of the study was to explore how museum practitioners can collaborate with creative art centers to develop inclusive programming for creative art center artists and community artists. ii Based on interviews with Open Door Art Studio artists and staff members, I structured the workshop around time in the museum gallery for discussion and a collaborative art making exercise in the museum’s studio space. For the time in the studio, I paired artists from Open Door Art Studio with community artists to create collaborative art pieces. From the post-workshop interviews, I found that the workshop, especially the collaborative portion, supported social connection between artists from Open Door Art Studio and the community artists. This social connection was demonstrated in the way that artists found things in common with each other, spoke about how they enjoyed meeting each other, and described the strengths of the workshop in terms of social connection. Additionally, the two of the three artists from Open Door Art Studio described feeling like equal collaborators during the workshop, which was particularly important due to the level of discrimination that artists with disabilities face. Lastly, each of the community artists discussed how the workshop prompted them to think about disability identity in a more nuanced way. However, although the workshop encouraged community artists to re-think preconceptions about disability, lingering negative associations about disability were still evident in some of the interviews. These results suggest that collaboration can be a powerful tool for connecting creative art center artists with community artists. Additionally, collaboration can be utilized as a method of placing creative art center artists on “equal footing” with community artists. Lastly, the integration of creative art center artists and community iii artists in art museum programming can create a productive space for community artists to consider disability identity. iv Dedication To the artists at Open Door Art Studio for their dedication to their artistic practices. And to David for your unconditional support and love. v Acknowledgments First, I would like to thank my advisor, Dr. Dana Carlisle Kletchka, for her support, mentorship, and generosity as I have navigated writing this thesis. Your thought- provoking questions and thoughtful edits expanded my research. Thank you for all of the time that you have invested in me as a student. I have learned so much from you. I would also like to thank my committee member, Dr. Jennifer Richardson for her support and her expertise in disability studies. Your course on inclusive educational practices and universal design for learning shaped this research. Your edits and comments strengthened my research. Additionally, thank you to the professors of the Department of Arts Administration, Education, and Policy for deepening my understanding of art education over the past two years. This research could not have occurred without the support and generosity of Open Door Art Studio staff and artists. Thank you for your time, expertise, and willingness to participate in this research. Volunteering at Open Door Art Studio and getting to know each artist is one of my most cherished memories from my time in Columbus, Ohio. I am honored that you trusted me to write about your lives and artistic practices. I also would like to thank Art Possible Ohio (APO) and the Columbus Museum of Art (CMA), without which this research would not have been possible. Thank you to the staff members at CMA and APO who connected me with community artists, gave crucial vi feedback on the program design, and facilitated the professional development programming. Your expertise in art museum education and commitment to accessibility are what made this project successful. Thank you to the artists from the Columbus community for participating in this research. I am grateful for your willingness to participate in a new and untested program. The world needs more artists like you— artists who are open and willing to meet new collaborators. Lastly, thank you to the ones I love most— my parents, brother, in-laws, David, and Cindy— for your support, encouragement, and love. vii Vita 2010…………………………………………Bellaire High School 2014…………………………………………B.F.A. Studio Art, The University of Alabama 2017 to present………………………………Learning Assistant, The Columbus Museum of Art 2019 to present………………………………Graduate Teaching Associate, Department of Arts Administration, Education, and Policy, The Ohio State University Fields of Study Major Field: Art Education Specialization: Museum Education and Administration viii Table of Contents Abstract ............................................................................................................................... ii Dedication ........................................................................................................................... v Acknowledgments.............................................................................................................. vi Vita ................................................................................................................................... viii List of Figures .................................................................................................................. xiii Chapter 1. Introduction ....................................................................................................... 1 Background ..................................................................................................................... 1 Positionality. ............................................................................................................... 1 Art museums. .............................................................................................................. 2 Outsider art.................................................................................................................. 4 Creative art centers. .................................................................................................... 4 The Columbus Museum of Art. .................................................................................. 6 Open Door Art Studio and Gallery. ............................................................................ 7 Purpose of the Study ....................................................................................................... 8 Research Questions ......................................................................................................... 9 Chapter 2. Literature Review ........................................................................................... 11 Introduction ................................................................................................................... 11 Definitions of Disability ............................................................................................... 12 Models of Disability ..................................................................................................... 14 History of Disability in the United States ..................................................................... 17 Current status of disability services and rights in Ohio. ........................................... 20 History of Educational Policy and Disability in the United States ............................... 22 Inclusive Education ....................................................................................................... 24 Constructivism and social constructivism. ............................................................... 26 Critical pedagogy. ..................................................................................................... 26 ix Universal design for learning. ................................................................................... 27 Creative Art Centers ....................................................................................................
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