Resources  and  Programs    

Another  pull-­‐out  resource  in  the  Art  Gallery  Handbook  is  Tate  Modern’s  Ways  in  

Wheel  outlines  a  four-­‐stage  process  to  analyzing  an  artwork  that  includes;  ‘a  

personal  approach’,  ‘ways  in  to  the  object’,  ‘ways  in  to  the  subject’,  ‘ways  in  to  the  

context’.1  This  framework  is  similar  to  the  traditional  process  of  critically  analysing  an  

artwork  through  description,  analysis,  interpretation  and  judgment.  However  it  also  

includes  elements  of  Ossian  Ward’s  theory  for  unpacking  artworks  represented  as  

the  acronym  TABULA;  T  is  for  time,  A  is  for  association,  B  for  background,  U  is  for  

understanding,  L  is  for  look  again  and  A  is  for  assessment.2  The  Ways  in  Wheel  

provides  further  scaffolding  that  helps  students  access  artworks  by  intense  looking  

at  each  stage.    

 

This  first  stage  of  analysis  requires  students  adopt  the  ‘personal  approach’  and  it  

encourages  students  to  consider  their  own  varied  experiences.  These  questions  may  

include  ‘what  does  it  remind  you  of?’  or  ‘what  are  your  first  reactions  to  the  work?’.3  

For  example,  while  Stack,  1975  (Fig.  6)  by  Tony  Cragg  challenges  the  students’  

perception  of  what  art  is,  the  familiarity  of  the  materials  provides  a  way  in  for  

students  to  connect  with  the  work.  This  initial  type  of  questioning  is  effective  in  

providing  a  safe  learning  environment  where  the  notion  of  not  knowing  is  

welcomed,  identified  earlier  as  ‘disruptions’.  This  time  spent  viewing  an  artwork,  at  

                                                                                                               

1  Charman,  H.  The  Art  Gallery  Handbook:  A  Resource  for  Teachers,  Tate  Publishing,  London,  2006,  p.  53  2  Ward.  O.  Ways  of  Looking:  How  to  Experience  Contemporary  Art,  Lawrence  King  Publishing,  London,  2014,  p.  12-­‐19    3  Ibid.  p.  63  

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each  stage,  is  an  experience  that  cannot  be  replicated  in  a  classroom.  Instead,  by  

visiting  primary  sources  in  galleries  and  museums  students  can  practise  the  skill  of  

looking.  

                                     Figure  6  Tony  Cragg,  Stack,  wood,  concrete,  brick,  metal,  plastic,  textile,  cardboard  and  paper,  unconfirmed  2000  x2000  x  2000mm,  image  sourced  from  Tate  Modern,  London,  1975    

 

The  second  suggested  questioning  strategy  focuses  on  materials  and  processes.  For  

example  students  may  consider  the  scale  of  the  work  by  making  comparisons  to  

their  own  physicality,  as  well  as  identifying  any  materials  they  have  personal  

associations  with.  The  use  of  human-­‐made  objects  in  Stack  encourages  students  to  

connect  with  the  work  by  recognizing  items  such  as  wooden  posts  and  cement  

blocks  they  have  seen  elsewhere,  while  reinforcing  that  analyzing  an  artwork  is  not  

as  foreign  as  it  first  appeared.  This  inclusion  of  spatial  awareness  links  to  Howard  

Gardner’s  Multiple  Intelligence  Theory.  The  learning  style  considered  here  is  the  

visual-­‐spatial  and  provides  students  with  an  opportunity  to  become  aware  of  their  

environment  and  the  physical  space  around  them.  In  combining  a  physical  sensory  

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focus  to  the  gallery  environment,  reaffirms  that  the  senses  are  vital  tools  in  helping  

an  individual  make  meaning  of  an  artwork.4  This  approach  to  observation  provides  a  

structured  base  from  which  students  can  harness  their  visual  literacy  skills,  and  it  

allows  time  for  them  to  consider,  reconsider  and,  most  importantly,  have  time  to  

think.    

 

The  third  approach  in  analysing  the  artwork  is  ‘ways  in  to  the  object’,  which  is  a  

background  and  understanding  exercise,  parallel  to  Ward’s  method  of  looking  at  art,  

TABULA,  specifically:  Association,  Background  and  Understanding.  Again,  this  step  in  

reading  a  visual  object  or  image  promotes  personal  relevance.  At  this  point  the  

facilitator  may  provide  students  with  some  context  and  he  or  she  may  follow  this  

with  a  personal  question  such  as:  ‘how  does  the  work  engage  you?’  This  type  of  

questioning  reinforces  that  the  role  of  the  viewer,  in  this  case  the  student,  is  vital  in  

making  meaning.  Students  might  consider  what  their  expectations  were  prior  to  the  

gallery  visit.  This  encourages  inclusivity  before  asking  students  more  challenging  

questions  such  as  ‘how  does  ‘Stack’  relates  to  other  artworks’  and  ‘if  they  could  make  

any  changes  to  the  display  what  they  would  be?’  Rather  than  merely  expecting  

students  to  absorb  content,  they  are  asked  to  make  connections  to  the  subject  and  

materials,  as  well  as  thinking  creatively  by  suggesting  possible  modifications,  and  

justifying  why.  This  scaffolding  helps  students  reach  an  understanding  not  yet  

realized  through  only  looking.  Through  reflecting  on  process  of  construction  and  

                                                                                                               

4  Gardner,  H,  Frames  of  Mind:  The  Theory  of  Multiple  Intelligences,  Basic  Books,  New  York,  2004,  p.117  

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generating  ideas,  key  attributes  of  critical  thinking  are  being  developed  in  the  

students.      

The  final  overlapping  question  in  the  Ways  in  Wheel  aims  to  examine  artworks  in  the  

context  of  other  disciplines  including  politics,  social  history,  science  and  visual  

culture  as  a  whole.5    While  Tate  Modern  acknowledges  that  the  artist’s  intention  is  

important,  they  highlight  that  it  can  limit  the  way  in  for  the  student.  Instead,  asking  

students  to  make  links  to  other  fields  encourages  a  student  to  relate  this  work  to  

their  wider  world.  Learning  resources  such  as  the  Art  Gallery  Handbook  ensure  that  

the  responsibility  of  teaching  students  does  not  fall  exclusively  on  the  teacher  or  the  

institution.  Rather,  it  highlights  that  by  teachers  working  in  partnership  with  the  

museum,  the  broader  educational  aims  of  developing  thinking  skills  amongst  a  

young  audience  can  be  achieved.  Through  the  development  of  this  resource,  the  

Tate  Modern  illustrates  an  authentic  understanding  of  the  need  for  structured  

learning  between  visitor  and  facilitator,  which  in  turn  complements  the  educational  

outcomes  of  government-­‐based  curricula.    This  suggests  that  the  Tate  Modern  is  at  

the  forefront  for  facilitating  effective  learning  programs  that  foster  globally-­‐minded  

citizens  who  are  visually  literate.  In  turn,  by  weaving  these  ideals  into  the  teaching  

practices  within  an  art  museum  and  exposing  students  to  new  and  varied  

information  continuously,  curiosity  becomes  the  catalyst  for  engagement  with  the  

arts.  

 

                                                                                                               

5  Charman,  H.  p.  15  

 

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In  addition  to  the  Art  Gallery  Handbook  other  resources  are  available  online  which  

cater  for  the  more  infrequent  of  school  visitors.  The  online  resource  entitled  Value  of  

Art6  http://www.tate.org.uk/learn  hones  in  on  specific  artworks  from  the  collection  

and  offers  suggestions  for  discussion-­‐based  activities  in  the  gallery.  Only  brief  

contextual  knowledge  is  provided.  Rather,  importance  is  placed  on  the  ownership  of  

learning,  building  confidence,  curiosity  and  encouraging  imaginative  use  of  the  space  

by  teachers  and  students.    An  example  of  this  is  the  Value  of  Art:  Cornelia  Parker  

Cold  Dark  Matter  gallery  activity  (Fig.  7).    

 

 

 

 

 

 

 

         Figure  7  Cornelia  Parker,  Cold  Dark  Matter:  An  Exploded  View,  mixed  media,  4000  x  5000  x  5000mm,  Tate  Modern,  London,  1991    

 

                                                                                                               

6    Value  of  Art:  Corelia  Parker  Cold  Dark  Matter,  http://www.tate.org.uk/learn/online-­‐resources/value-­‐art-­‐cornelia-­‐parker-­‐cold-­‐dark-­‐matter-­‐gallery-­‐activity  (accessed  on  5th  May  2015)  

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Teachers  are  encouraged  to  lead  and  participate  in  discussion  with  students  in  small  

groups  with  consideration  of  the  atmosphere  Cold  Dark  Matter  creates  within  the  

space.  This  collaboration  ensures  that  the  learner  and  facilitator  look,  discover  and  

discuss  together  which,  as  Burnham  suggests,  enhances  engagement  long-­‐term.7    

 

Further  learning  opportunities  encourage  students  to  locate  different  sculptural  

pieces  within  the  gallery  and  connect  this  to  Parker’s  installation.  These  may  include  

artworks  that  use  everyday  materials,  so  that  they  can  then  compare  and  contrast  

their  observations.  For  example,  students  could  examine  artwork  by  Kurt  Schwitters  

in  which  he  uses  discarded  rubbish  to  create  his  collage  images.  The  emphasis  on  

further  questioning,  instead  of  providing  answers  is,  as  Norris  suggests,  better  at  

cultivating  curiosity.  This  format  provides  students  with  a  way  in  to  the  artwork,  

which  may  also  be  extended  through  open-­‐ended  practical  application.    These  types  

of  activities  provide  learners  with  the  tools  and  strategies  for  exploration  and  

discovery.8    

 

The  object  in-­‐situ  anchors  the  students  in  place,  allowing  the  facilitator  to  establish  

the  right  learning  conditions  that  cultivate  thinking  habits.  David  Perkins  describes  

this  as  sensory  anchoring,  where  students  have  a  physical  object  to  focus  on  as  they  

talk  and  learn.9  The  Value  of  Art  activity  mirrors  Perkins’  mode  of  teaching  deep  

                                                                                                               

7  Burnham,  R  and  Kai-­‐Kee,  E.  Teaching  in  the  Art  Museum,  The  J  Paul  Getty  Museum,  Los  Angeles,  2011,  p.  11    8  Norris,  L.  &  Tisdale,  R.  Creativity  in  Museum  Practice.  Walnut  Creek,  California,  USA,  Left  Coast  Press,  2013,  p.  187  9  Perkins,  D.  1995,The  Intelligent  Eye:  learning  to  think  by  looking  at  art,  Getty  Centre  for  the  Arts,  California,  p.  5  

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observation,  and  thus  fostering  creative  thinkers.  Hence,  students  are  required  to  

‘look’  as  a  means  of  preparation.  This  will  include  approaching  the  object  from  the  

‘personal  framework’  in  which  students  identify  what  the  object  reminds  them  of.  At  

the  incubation  stage,  students  may  close  their  eyes  to  allow  for  the  other  senses  to  

read  the  work.10  As  Parker’s  installation  is  made  from  charred  debris,  the  students’  

sense  of  smell  may  be  activated  causing  them  to  make  personal  associations.  This  

approach  is  framed  with  the  student  at  the  centre  of  the  experience  and  encourages  

active  participation,  which  as  Perkins  suggests  will  vastly  enrich  people’s  experience  

and  understanding  of  art.11      

 

Upon  returning  to  school,  further  follow-­‐up  activities  are  provided,  reinforcing  

engagement  with  the  gallery.  One  suggested  activity  involves  students  making  their  

own  installations  using  recycled  materials,  which  connects  to  Parker’s  work.  If  

facilitated  authentically  by  the  teacher,  this  practical  activity  can  also  provide  an  

opportunity  for  discussion  about  sustainability,  and  this  then  links  to  other  subject  

areas  such  as  Science  or  Geography.  The  possibilities  are  endless  and  this  is  merely  

one  example  of  how,  by  looking  intensely,  thinking,  questioning,  and  enquiring,  

critical  and  creative  thinking  can  be  enriched.  Furthermore,  the  collaboration  

between  teachers  and  museum  educators  ensures  that  the  visit  to  the  gallery  is  a  

meaningful  and  enjoyable  one  for  young  people,  and  one  which  will  encourage  them  

to  revisit  with  their  families  or  friends  and  to  continue  learning.12    

                                                                                                                 

10  Ibid.  p.  192  11  Ibid.  p.  5  12  Black,  B.  p.  113  

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Interactive  and  Community  Engagement  

The  2013/2014  Tate  Report  highlights  an  emphasis  on  providing  young  people  the  

opportunity  to  learn  through  and  about  art,  and  how  their  learning  programs  

complement  the  British  National  Curriculum.  As  Tate  Modern  already  had  renewed  

their  learning  programs  specifically  for  schools  and  young  children,  in  attempting  to  

reach  young  people  aged  12-­‐17  years  they  implemented  yet  another  program  

Circuit,  a  national  youth  network  for  the  visual  arts.  Using  the  Tate  Modern  

collection  young  people  devise  events  to  encourage  other  young  people  to  engage  

across  multiple  disciplines.  Some  of  the  events  on  offer  to  youth  outside  of  school  

visits  are  debates,  internships  and  practical  workshops.  It  is  anticipated  that  this  will  

redefine  cultural  activity  for  young  people  and  connect  them  with  galleries  to  initiate  

change.13    

 

The  form  of  discussion  and  a  generally  open  atmosphere  offered  by  the  Tate  Modern  

creates  a  safe  learning  space  where  students’  ideas  are  respected  and  this  helps  

adolescents  feel  connected  with  the  gallery.  Consequently,  this  encourages  future  

engagement  with  the  arts.  An  integral  part  of  this,  is  ensuring  learning  programs  are  

enjoyable.  A  specific  example  of  this  is  The  Tate  Collective,  which  targets  young  

people  aged  15-­‐25  to  create  through  art  and  ideas.  These  free  events  include  

workshops  with  artists,  talks  and  live  performance.  All  these  activities  have  links  to,  

or  have  been  inspired,  by  artworks  in  the  Tate  Modern’s  collection,  and  offer  a  

                                                                                                               

13  Findlay,  R  &  Jones,  S.  TATE  Report  2013/2014,  Tate  Publishing,  London,  2014,  p.  28      

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variety  of  activities  to  suit  all  learning  styles.14  This  highlights  the  gallery’s  innovative  

approach  to  encouraging  youth  engagement,  as  it  promotes  independence,  

cultivating  an  interest  in  the  arts.    

 

Conclusion    

Tate  Modern’s  scope  and  depth  of  their  learning  programs  is  outstanding.  The  in-­‐

depth  analysis  above  of  their  approach  has  revealed  they  are  proactive  and  

reflective  toward  education  as  a  means  of  engagement.  They  acknowledge  

environmental  conditions  that  are  conducive  to  learning,  and  have  developed  

activities  and  questioning  strategies  that  allow  for  connections  to  be  made  for  all  

visitors.    

 

The  programs  range  from  singular  artwork  focused  activities  such  as  the  Value  of  Art  

where  responses  are  succinct,  to  a  term-­‐long  unit  encompassing  many  elements  of  

learning  through  art  theory  and  practical  application.  Each  activity  has  been  carefully  

constructed  to  ensure  that  learners  are  taking  away  more  than  simply  content.  They  

are  also  developing  visual  literacy  skills,  which  they  carry  with  them  beyond  the  

museum  visit.  The  Tate  Modern’s  thorough  resources  tap  into  a  wide  pool  of  

learners,  both  in  the  gallery  and  online.  This  multi-­‐modal  approach  to  learning  

encourages  ongoing  engagement  with  the  arts,  as  students  have  the  opportunity  

either  through  a  school  or  a  solo  visit  to  participate  in  practical  activities,  dialogue  

and  social  events.  As  a  result  of  their  varied  and  accessible  learning  programs  

                                                                                                               

14  Tate  London,  Learning  at  the  Tate:  Education  Resources,  ‘Gallery  Collectives’  http://www.tate.org.uk/learn/young-­‐people/gallery-­‐collectives/london  (accessed  6  May  2015)  

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participants  are  better  equipped  to  make  inquiries,  undertake  analysis,  consider  

alternatives  and  form  reasoned  opinions.  It  is  through  this  exposure  to  art  

collections  that  students  may  begin  to  gain  insight  into  their  own  identity  and  

potential.15  This  occurs  when  initial  encounters  with  the  gallery  are  valued,  when  

they  are  easily  accessible,  and  how  best  to  appeal  to  students’  interests  and  abilities.  

It  is  through  these  programs  that  curiosity  is  ignited,  thus  empowering  students  with  

the  confidence  to  make  sense  of  their  own  participation  in  the  world.    

 

 

 

 

 

 

 

 

 

 

 

 

 

                                                                                                               

15  Jenson,  N.  p.  117    

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CHAPTER  3  

Closing  the  gap:  teaching  the  teachers  Art  Gallery  of  South  Australia    

Adelaide,  Australia        

This  chapter  will  investigate  the  current  educational  practices  at  the  Art  Gallery  of  

South  Australia  (AGSA)  with  comparisons  to  the  Tate  Modern  learning  programs,  and  

educational  theories  in  visual  literacy  and  critical  thinking.  It  will  examine  the  

programs  that  aim  to  engage  secondary  students  by  linking  school  visits  to  the  

Australian  Curriculum.  It  will  highlight  successful  programs  that  aid  the  development  

of  visual  literacy,  and  those  which  inherently  spark  curiosity.  As  the  Australian  

Curriculum  states,  ‘the  visual  arts  has  a  capacity  to  engage,  inspire  and  enrich  the  

lives  of  students,  encouraging  them  to  reach  their  creative  and  intellectual  potential  

by  igniting  informed  imagination  and  innovative  thinking’16  Specifically  this  chapter  

will  establish  how  AGSA  seeks  to  engage  students,  via  their  teachers,  by  attending  to  

their  curriculum  needs  and  how,  by  implementing  effective  learning  programs,  the  

gallery  sharpens  their  own  agenda  towards  audience  development  and  audience  

retention.    

 

The  appointment  of  Nick  Mitzevich  as  director  of  the  Art  Gallery  of  South  Australia  in  

2010  saw  the  revitalization  of  learning  programs  offered  to  a  range  of  age  groups.  

These  included  targeted  programs  such  as  the  inception  of  the  Studio  and  START  on  

                                                                                                               

16  Australian  Curriculum,  The  Arts                                                                                                                                            http://www.australiancurriculum.edu.au/the-­‐arts/introduction  (accessed  10  March  2015)  

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Sundays  for  young  children  and  families,  through  to  tailored  events  such  as  

Departure  aimed  at  urban  young  professionals.  Both  initiatives  are  part  of  a  long-­‐

term  goal  to  attract  a  wider  demographic  and  establish  the  foundations  for  ‘lifelong  

love  of  the  arts’17,  which  in  turn  lead  to  a  sustained  engagement  with  AGSA.    

 

These  examples  are  considerable  signposts  of  the  gallery’s  revived  artistic  program,  

however  a  specific  focus  on  secondary  school  children  is  exempt  from  Mitzetvich’s  

strategic  plan.  Rather,  a  broad  statement  is  included  in  the  gallery’s  strategic  plan  

that  encompasses  learners  of  all  ages  and  a  need  for  AGSA  to  connect  with  

education  sectors.  While,  at  first  glance,  it  seems  this  demographic  has  been  

overlooked,  it  is  evident  that  AGSA  aims  to  engage  secondary  students  via  a  proxy,  

the  teacher.  Consequently,  secondary  students  are  catered  for  through  the  

development  of  education  resources  and  by  enlisting  support  from  teachers  to  

ensure  learning  experiences  at  the  gallery  are  meaningful  and  justified.  The  

approach  here  is  much  more  specialised  than  that  of  Tate  Modern,  but  also  flexible,  

and  it  requires  mutual  collaboration  between  AGSA  and  teachers  in  order  to  engage  

secondary  students.    

 

After  Mitzevitch’s  appointment,  which  coincided  with  the  release  of  Australia’s  

Curriculum,  education  packs  became  more  refined  with  in-­‐depth  contextual  

material,  and  potential  questions  linking  to  interactive  activities  both  in  the  gallery  

                                                                                                               

17  Mitzevich,  N.  The  Art  Gallery  of  South  Australia  Strategic  Plan  (2012-­‐2015),  South  Australia,  2012,  p.  12    

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and  in  the  classroom.  The  first  example  of  this  dynamism  occurred  in  2011  for  

Patricia  Piccinini’s  solo  exhibition  Once  Upon  a  Time.  The  education  resource  

included  a  PowerPoint  for  teachers  to  use  during  pre  or  post  visit  activities  in  the  

classroom,  as  well  as  open-­‐ended  questioning  strategies  that  accommodate  the  

learning  needs  of  primary  and  secondary  students.  This  exhibition  was  highly  

engaging  as  it  included  The  Offering,  2009  (Fig.  8)  an  artwork  that  could  be  physically  

touched  by  the  audience.    

 

Figure  8    Patricia  Piccinini,  The  Offering,  silicon,  fox  fur,  New  Zealand  feral  possum  pelt,  15.0  x20.0  x28.0  cm,  courtesy  of  the  artist,  image  sourced  from  Once  Upon  a  Time  Education  Resource,  Art  Gallery  of  South  Australia,  Adelaide,  2009      

In  addition  it  was  the  first  glimpse  of  the  Studio,  a  designated  space  inside  the  

exhibition  where  students  could  respond  to  Piccinini’s  work  through  their  own  

drawing  or  sculpture.  Additionally,  this  notion  of  ‘Making  and  Responding’  in  the  arts  

is  based  on  Australia’s  Arts  Curriculum,18  and  it  would  be  the  first  of  many  examples  

of  AGSA  embedding  aspects  of  school  curriculum  into  their  learning  programs.  This  

                                                                                                               

18  Australian  Curriculum,  The  Arts,  http://www.australiancurriculum.edu.au/the-­‐arts/introduction  (accessed  10  March  2015)      

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includes  the  art  curriculum  but  also  other  learning  areas  such  as  science,  with  

specific  links  to  Cross  Curriculum  Priorities  and  General  Capabilities.19  As  Hooper-­‐

Greenhill  highlights,  without  links  to  curriculum  priorities,  it  becomes  difficult  for  

teachers  to  justify  a  museum  visit.20  Additional  examples  of  AGSA’s  learning  

programs  will  be  examined  under  Resources  and  Programs  and  will  they  highlight  

their  ongoing  commitment  to  the  process  of  learning  with  the  intention  of  increasing  

engagement  specific  to  the  youth  demographic.  

 

Further  attempts  to  engage  secondary  students  are  through  practical  workshops.  

Most  significant  of  these  is  the  annual  portrait  workshop  that  concludes  with  a  SALA  

Exhibition  of  student  work,  held  in  the  Radford  Auditorium,  which  is  discussed  more  

fully  in  the  chapter.  South  Australian  Certificate  of  Education  (SACE)  forums  and  

Visual  Arts  career  forums  are  also  offered  to  teachers  and  students  and  feature  

guest  speakers  from  South  Australian  Arts  organisations.  These  direct  links  the  art  

gallery  is  initiating  with  the  community  encourage  secondary  students  to  engage  

more  deeply,  as  they  make  authentic  connections  between  their  own  arts  learning  

and  its  place  in  the  world,  including  that  of  future  study  and  employment.    

 

A  cohesive  overlap  is  required  between  the  gallery,  students,  teachers  and  education  

bodies  to  ensure  AGSA  is  in  a  strong  position  to  build  its  secondary  school  audience  

as  effectively,  as  tailored  programs  designed  for  younger  and  older  audience  

                                                                                                               

19  See  appendix  1  for  detailed  description  of  General  Capabilities  and  Cross  Curriculum  Priorities  as  outlined  by  Australia’s  National  Curriculum.    20  Hooper-­‐Greenhill,  E.  Museums  and  Education:  Purpose,  Pedagogy,  Performance  (Museum  Meanings),  Routledge,  London  and  New  York,  2007,  p.  99    

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respectively  such  as  START  and  Departure.  The  marketing  strategies  and  learning  

programs  will  be  examined  in  this  chapter  to  understand  how  AGSA  contributes  to  

the  development  of  a  student’s  visual  literacy,  thus  igniting  curiosity  and  sustaining  

engagement.      

 

Online  and  Digital  Connections    

As  new  forms  of  media  become  available,  galleries  and  museums  implement  these  

to  communicate  with  their  audience,  and  AGSA  is  no  exception.  As  a  part  of  

Mitzevitch’s  2012-­‐2015  Strategic  Plan,  focused  and  innovative  digital  marketing  was  

employed.  This  digital  strategy  is  aimed  at  attracting  visitors  with  a  different  

demographic  profile.21  Since  this  time,  the  Art  Gallery  of  South  Australia,  as  well  as  

Mitzevitch  himself,  have  engaged  with  the  three  main  social  media  platforms  

including  Instagram,  Facebook  and  Twitter.  The  regular  use  of  these  tools  for  the  

promotion  of  the  gallery  and  its  events  occurs  at  very  little  cost  to  the  institution.  

This  form  of  communication  is  invaluable  in  reaching  an  audience  who  may  not  

normally  engage  with  the  gallery.  However,  the  use  of  social  media  is  only  effective  if  

secondary  students  are  aware  of  AGSA’s  existence.  It  is  at  this  point,  that  the  teacher  

plays  a  vital  role  in  presenting  the  gallery  as  place  where  students  may  seek  

inspiration,  or  engage  socially  with  family  and  friends.  School  visits  to  the  gallery,  

therefore,  are  an  ideal  place  for  this  to  be  initiated.    

 

                                                                                                               

21  Mitzevich,  N.  2012,  p.  8