DOCENT HANDBOOK 2012-2013 Name:__________________ Compiled by: MICHAEL CHRISS- UAMA Docent OLIVIA MILLER- UAMA Curator of Education Dear UAMA Docents, Welcome to the UAMA docent program! The docent program has been a vital part of the Museum’s Education Department for more than 30 years. As a docent, you are part of a major research institution with a world class collection. It is you who introduces the Museum’s collections and exhibitions to the public and inspires the new generations of art lovers. Thank you for your service to the UAMA and the community. We hope you continue to share your love of art with our visitors for many years to come. Sincerely, Olivia Miller Curator of Education ABOUT THE UAMA AND ITS COLLECTION Officially established in 1942 and supported by the growing collection of alumnus C. Leonard Pfeiffer, the museum began its life inside of the Arizona State Museum, which at the time, was the University library.* At this time, student enrollment was only 2,523 (today it’s almost 40,000!). In the early 1950’s, after a large donation of 60 works from the Samuel Kress Foundation, construction on this current building began. The museum now has over 6000 works of art ranging in date from the 35th century BCE to the present day. Although some works are on permanent display, the museum averages 15 changing exhibitions a year. More than 24,000 people visit the museum each year with over 200 group tours scheduled. Key dates in the Museum’s history: 1955: Construction begins on current Museum building 1956: Museum opens its doors 1957: The Kress Collection is donated 1957: The Gallagher Collection is donated 1968: The museum changes its name from the Gallery to the University of Arizona Museum of Art 1979: The Edward J. Gallagher Endowment is created to support the museum’s collection 1980: The Museum received a gift from the widow of Jacques Lipchitz of the artist’s sketches, models, and full-scale sculptures. 1981: The museum receives its first accreditation by the American Association of Museums. 2003: The Jack and Vivian Hanson Endowment is created to support changing exhibitions, in the amount of $2.5 million. 2006: The Museum celebrates its 50th anniversary. 2006: The 26 panels of the Retablo of Ciudad Rodrigo travel to the Kimbell and Meadows museums for research and a monumental exhibition. Museum Mission: Currently being revised. Stay tuned! Education Mission: UAMA’s Education Department is committed to promoting the museum and its collection as a University resource that fosters communication, collaboration, and academic scholarship with interdisciplinary programming designed to empower and engage audiences of all ages and experiences. Education Vision: As a “teaching museum” we aim to enrich the entire University community by integrating our programs into the academic vision of the University at large. Through the lens of the visual arts, we strive to cultivate opportunities for inquiry and create a foundation for learning in a variety of disciplines across the humanities, science, and mathematics. Extensive interdisciplinary programming provides students from early childhood through university levels with new ways of approaching art. The museum functions as a learning environment that becomes a safe place for public discourse and one that empowers every visitor by providing them with a new awareness of visual culture. Archive of Visual Arts Mission/Vision: The vision of the AVA is to be a premier destination for the scholarly study of creativity and history in the visual arts. This is accomplished through the collection, preservation and availability of original source material to supplement exhibitions, publications and educational programs. The AVA supports instruction, research and service to students and faculty at the University of Arizona, researchers worldwide, and to the general public online and on site. DESCRIPTION OF THE UAMA COLLECTION http://artmuseum.arizona.edu/collections.shtml The University of Arizona Museum of Art houses wide-ranging collections of over 6,000 paintings, sculptures, prints and drawings, with an emphasis on European and American fine art from the Renaissance to the present. Special holdings within the Museum's collections include: ●C. Leonard Pfeiffer Collection The C. LEONARD PFEIFFER COLLECTION, donated in 1944 by a UA alumnus, is comprised of nearly 100 American paintings and drawings from the early 20th century. The collection includes works by John Sloan, Stuart Davis, Edward Hopper, Isabel Bishop, Jacob Lawrence, Reginald Marsh, John Steuart Curry, and Philip Evergood. ●Edward J. Gallagher, Jr. Memorial The EDWARD J. GALLAGHER, JR. MEMORIAL COLLECTION features more than 200 European and American paintings, sculptures and works on paper from the late 19th and 20th centuries. The sculpture holdings, considered one of the finest in the Southwest, include pieces by Auguste Rodin, Jean Arp, Aristide Maillol, Alexander Archipenko, Jacques Lipchitz, David Smith, Isamu Noguchi, Henry Moore, and Alexander Calder. The collection is particularly strong in Abstract Expressionism, with important paintings by Morris Louis, Jackson Pollock, Mark Rothko, Franz Kline and Robert Motherwell. Other artists represented include Henri Matisse, Pablo Picasso, Salvador Dali, Joán Miró, Fernand Léger, Marc Chagall, Emil Nolde, and Kurt Schwitters. ●Edward J. Gallagher, Jr. Memorial Bequest The EDWARD J. GALLAGHER, JR. MEMORIAL BEQUEST, an endowment which funds the selective growth of the permanent collection, has made possible since 1980 the acquisition of more than 1,000 works of art, including pieces by Honoré Daumier, James McNeill Whistler, José Posada, Käthe Kollwitz, Frank Stella, Richard Diebenkorn, Helen Frankenthaler, Roy Lichtenstein, Robert Rauschenberg, Elizabeth Catlett, and Robert Colescott. The majority of the Gallagher Bequest acquisitions have augmented the Museum's substantial print collection, which has extensive WPA/FAP holdings in addition to significant representation by Old Masters such as Albrecht Dürer, Hendrik Goltzius, Jacques Callot, Rembrandt van Rijn, Giovanni Battista Piranesi, Francisco de Goya, William Blake, John Martin, and Eugène Delacroix. ●The Jacques And Yulla Lipchitz Collection: Sketches And Models THE JACQUES AND YULLA LIPCHITZ COLLECTION: SKETCHES AND MODELS, donated by the artist's widow in 1980, includes 60 plaster and clay models by Lipchitz, various tools from the artist's studio, numerous portrait busts, and several fully-realized sculptures. With its intensive focus on the work of a single artist and its chronological range, spanning 1911 to 1971, this comprehensive collection provides rare access to the working process of one of the most important sculptors of the Modern era. ● The Archive of Visual Arts Founded in 2007, The Archive of Visual Arts (AVA) is located at 1014/1018 E. 6th Street (corner of 6th St. and Park). Although housed in a separate building, the AVA holds an integral part of the museum’s collections. The collection currently holds the works and documents of the artists, Robert McCall and Sara Wallach. The AVA will continue to build its collection of artists’ sketches, notes, journals, correspondence, and other ephemera in order to support scholarly art historical research as well as the study of the creative process and artistic technology. For more information about the archive, contact the Archivist, Jill McCleary at 520-623-1124. ●Robert McCall Collection The AVA has received its first major contribution. Robert McCall, an enormously gifted artist and illustrator, is gifting over 200 paintings and drawings to the University of Arizona Museum of Art, along with his full collection of documents and support materials to the Archive of Visual Arts. This collection will chronicle his career as an artist and illustrator who created work for NASA, national magazines, films such as 2001: A Space Odyssey and Star Trek, as well as his museum exhibitions. Robert McCall's substantial gift will also offer insights into distinctions between his career as a successful artist and as a sought-after illustrator. The AVA is continuing to collect more artist’s archives. ● Public Art The museum owns and cares for many of the public sculptures and art installations around campus. A campus-wide collection of over 40 public sculptures, innovative public spaces, and integrated artworks enliven the campus design, educate and engage students and faculty, inspire the broader campus community, and enhance the vitality of Tucson and the aesthetic experiences of its citizens. Public art enables the University of Arizona to establish a unique, visual identity while contributing to the civic pride of the Tucson community. Under guidance and direction from the UA Public Art Advisory Committee (PAAC), the University of Arizona Museum of Art & Archive of Visual Arts coordinates the UA Public Art Program and in doing so strives to maintain a quality public art collection of diverse media and styles. ●Samuel H. Kress Collection The SAMUEL H. KRESS COLLECTION, given in the early 1950s, consists of more than 60 European paintings, sculptures and decorative objects dating from the 14th through the 19th centuries. A highlight of the collection is the 26 panel Retablo of the Cathedral of the Ciudad Rodrigo by 15th century Spanish painters Fernando Gallego and Maestro Bartolomé (and their workshops), which is not only the most important altarpiece produced by the Spanish masters, but is also perhaps the finest example of late Gothic Spanish painting in a U.S. collection. In addition the Kress holdings include paintings by Vittore Carpaccio, Jusepe de Ribera, Domenico Tintoretto, Giovanni Battista Tiepolo, Horace Vernet and Elisabeth Vigée-Lebrun. The Samuel H. Kress Collection at the University of Arizona represents a culmination of a most pleasant and gratifying relationship between the University and the Samuel H. Kress Foundation. For more details of the Kress Collection: http://artmuseum.arizona.edu/exhibitions/web/kress/exhibit1/e10001a.htm http://www.kressfoundation.org/ The Samuel H. Kress Collection, sorted by wall/viewing order # wall view no. 1 1,2 2 1,2 3 Id# Name Title Creator Date 1961.013.002 Painting The Incredulity of St. Thomas Giuseppe Bazzani c. 1730 1961.013.006 Painting The Crucifixion Guidoccio Cozzarelli c. 1483 1961.013.013 Painting Ciborium (also, 17 Scenes from Follower of Pacino di c. 1325 the Life of Christ) Bonaguida 1961.013.017 Painting Portrait of a Young Artist Giuseppe Ghislandi c. 1735 1961.013.024 Painting Portrait of a Young Man in Oriental Costume Giovanni Battista Piazzetta c. 1740 1962.009.004 Painting St. Dominic Follower of Sano di Pietro c. 1480 1961.013.031 Painting The Creation of Eve +xray pix Maestro Bartolomé after 1493 1961.013.046 Painting Pilate Washing His Hands +xray pix Fernando Gallego 1480-1488 sample styles in retablo 4 1 1961.013.055 Painting St. Mark and St. Thomas Fernando Gallego 1480-1488 4 2 1961.013.053 Painting St. Andrew and St. Peter Fernando Gallego 1480-1488 4 3 1961.013.054 Painting St. Bartholomew and St. John the Evangelist Fernando Gallego 1480-1488 4 4 1961.013.037 Painting Christ and the Samaritan Woman Fernando Gallego 1480-1488 4 5 1961.013.039 Painting The Raising of Lazarus Fernando Gallego 1480-1488 4 6 1961.013.047 Painting Ecce Homo (also, Christ Delivered by Pilate) Fernando Gallego 1480-1488 4 7 1961.013.044 Painting The Agony in the Garden Fernando Gallego and 1480-1488 Workshop 4 8 1961.013.045 Painting The Betrayal of Christ Fernando Gallego and 1480-1488 Workshop 5 1 1961.013.035 Painting Changing the Water into Wine Workshop of Fernando Gallego 1480-1488 5 2 1961.013.038 Painting The Healing of the Blind Bartimaeus Workshop of Fernando Gallego 1480-1488 5 3 1961.013.052 Painting The Last Judgment Fernando Gallego, Francisco Gallego and 1480-1488 Workshop 5 4 1961.013.030 Painting Chaos Maestro Bartolomé after 1493 5 5 1961.013.033 Painting Christ Among the Doctors Maestro Bartolomé 1480-1488 5 6 1961.013.040 Painting The Supper in the House of Simon Maestro Bartolomé 1480-1488 5 7 1961.013.042 Painting The Entry into Jerusalem Maestro Bartolomé 1480-1488 6 1 1961.013.048 Painting The Way to Calvary Maestro Bartolomé 1480-1488 6 2 1961.013.034 Painting The Temptation Maestro Bartolomé after 1493 6 3 1961.013.041 Painting The Transfiguration Maestro Bartolomé 1480-1488 6 4 1961.013.043 Painting The Last Supper Maestro Bartolomé 1480-1488 6 5 1961.013.049 Painting The Crucifixion Maestro Bartolomé 1480-1488 7 1 1961.013.050 Painting The Deposition Maestro Bartolomé 1480-1488 7 2 1961.013.051 Painting The Resurrection Maestro Bartolomé 1480-1488 8 1 1961.013.032 Painting The Circumcision Fernando Gallego 1480-1488 8 2 Painting The Charge to Peter Fernando Gallego 1480-1488 9 composition models 10 James Tissot 11 1 + Intro to 1962.009.001 Kress Coll. Sculpture Madonna and Child Workshop of Luca della Robbia not dated (15th century) 12 1 1962.009.005 Painting St. Thomas Aquinas Follower of Sano di Pietro c. 1480 13 1 1961.013.005 Painting Pietà Vittore Crivelli c. 1481 14 1 1962.009.006 Painting Two Olivetan Monks Francesco Morone c. 1505 14 2 1961.013.014 Painting The Man of Sorrows with Saints and Donors Unknown French c. 1525 14 3 1961.013.029 Sculpture St. Michael the Archangel Unknown Italian Artist not dated (mid 15th century) 14 4 1962.009.008 Painting The Visitation Giuseppe Maria Crespi c. 1710 15 1 1961.013.018 Painting Venus Lamenting the Death of Domenico Tintoretto Adonis 15 2 1961.013.012 Decorative Cassone 16 1 1961.013.026 Painting 17 1 1961.013.001 18 1 18 2 18 1961.013.036 c. 1590 Unknown Italian artisan c. 1500 The Circumcision of the Children of Israel Studio of Giovanni Battista de Tiepolo c. 1735 Painting Madonna and Child with Angels Niccoló di Ser Sozzo Tegliacci c. 1360 1961.013.007 Painting Madonna and Child Enthroned Jacopo del Casentino c. 1340 1961.013.021 Painting Madonna and Child (also, Madonna dell'Umilta) 1961.013.016 Painting Madonna and Child Adored by Follower of Agnolo Two Angels (also, Madonna of Gaddi Humility) c. 1350 3 Studio of Bartolommeo Bulgarini c. 1350 18 4 1961.013.011 Painting Coronation of the Virgin Taddeo di Bartolo c. 1405 18 5 1961.013.020 Painting Madonna of Humility Zanobi Strozzi 1446-48 18 6 1961.013.015 Sculpture Virgin and Child (also, Madonna and Child) Unknown French not dated (second half of the 14th century) 1962.009.002 Painting Madonna and Child Follower of Michele Giambono c. 1450 1961.013.004 Painting Virgin and Child Studio of Lucas Cranach, the Elder c. 1513 1962.009.003 Painting Madonna and Child with Angels Follower of Giovanni c. 1475 di Paolo 1961.013.022 Painting The Visitation Master of the Retablo 1496-97 of the Reyes Católicos 1962.009.007 Painting Pietà Francesco di Bosio Zaganelli 1961.013.003 Painting Madonna and Child with Saints Vittore Carpaccio c. 1515 1961.013.009 Painting The Holy Family (with Madonna Seated Near a Tree) Follower of Andrea del Sarto c. 1525 1962.009.009 Painting Head of a Bearded Man Attributed to Marietta c. 1580 Tintoretto 19 1 19 2 19 2 19 3 20 1 21 1 22 1 23 1 c. 1514 24 1 25 1 26 1 26 2 26 3 27 1 28 1 1961.013.019 Painting The Consecration of St. Eligius Juan de Juanes c. 1536 1961.013.023 Painting Portrait of a Magistrate Giovanni Battista Moroni c. 1570 1961.013.028 Painting The Countess von Schönfeld and Her Daughter Elisabeth Louise Vigee-Lebrun 1793 1961.013.008 Painting Young Woman in a White Dress Attributed to Jacopo da Pontormo c. 1529 1961.013.010 Painting A Greek Sage Jusepe de Ribera c. 1630 1961.013.027 Painting Portrait of the Marchesa Cunegonda Misciattelli with Her Infant Son and His Nurse Emile-Jean-Horace Vernet 1830 1961.013.025 Painting The Sacrifice of Iphigenia Studio of Giovanni Battista de Tiepolo c. 1735 18 15 5 16 17 6 14 19 KRESS II GALLERY KRESS I GALLERY 4 KRESS WALL 22 10 13 20 7 21 8 12 11 23 1 27 2 28 24 25 26 9 3 enter WALL NUMBERING DIAGRAM ● THE UNIVERSITY OF ARIZONA MUSEUM OF ART STAFF DIRECTORY Christine Aguilar, Administrative Assistant vca@email.arizona.edu (520) 621-5676 Dennis Jones, Director dennisj@email.arizona.edu (520) 621-5676 Beth Hancock, Public Art Coordinator bhancock@email.arizona.edu (520) 621-9504 Kathleen Kearney, Business Manager kkearney@email.arizona.edu (520) 626-7978 John Kelly, Senior Exhibit Director kelly@email.arizona.edu (520) 621-9503 Andy Leahy, Security Officer aleahy@u.arizona.edu (520) 621-7567 Museum staff can be reached at: The University of Arizona Museum of Art P.O. Box 210002 Tucson, AZ 85721-0002 (520)621-7567 (520) 621-8770 (fax) Jill McCleary, Archivist jillmccleary@email.arizona.edu (520) 626-7187 Olivia Miller, Curator of Education millero@email.arizona.edu (520) 626-9899 Carol Petrozzello, Marketing Specialist carolp@email.arizona.edu (520) 621-7568 Lauren Rabb, Curator lrabb@email.arizona.edu (520) 621-9509 Kristen Schmidt, Registrar kristen@email.arizona.edu (520) 621-9510 Kris Wagman, Security Supervisor kwagman@email.arizona.edu (520) 621-7567 Sandra Um, Director of Development sum@email.arizona.edu (520) 621-2087 BASIC MUSEUM INFORMATION Convenient visitor parking is available at the UA garage on Park Avenue just north of Speedway Boulevard. (see map at: http://parking.arizona.edu/parkingmap/) UAMA is handicapped accessible. UAMA hours: Tuesday - Friday: 9am to 5pm Saturday - Sunday: Noon to 4 pm Closed Mondays. Closed University Holidays. UAMA Admission: Adult admission: $5.00 (unless as part of a school group tour) Students, Faculty & Staff with ID: Free Children: Free Active Military with ID: Free School, College & University Class Tours: Free (tour scheduling) Museum Members: Free (membership information) American Association of Museums members with current AAM membership card: Free Bag and camera policies All backpacks and large cases are to be checked at the front desk upon arrival. Cameras are allowed without flash or tripod. Photos may not be published without proper copyright procedures. Location of restrooms, water fountain, elevator, dining/ATMs + UA locations of interest Restrooms are located on the second floor, to the left of the staircase. Water fountain at rear of museum sales area, on 1st floor. Elevator to right of stairs in first floor lobby area. Dining and ATMs: The UA Student Union and University Blvd. both have many dining areas open to visitors. POLICIES AND CONDUCT ●Dress code/badges Docents should be dressed neatly if informally. Name badges should be prominently displayed. ●Rules for groups Groups must stay together One chaperone for every ten students is required Arrive five-ten minutes before the scheduled tour time. Turn off cell phones. Smoking, chewing gum, eating food or drinking beverages (including bottled water) is not permitted. Leave backpacks, large bags, umbrellas, food or drink at the Security Desk Tripods and flash photography are not permitted. Use only lead pencils for writing or sketching. Be sure not to point pencils at artworks or use walls or pedestals as supports. No touching of artwork. No touching or leaning on the glass, wall labels, walls, or pedestals. No running or jumping ●Procedures for unruly children As docent guides, you create a meaningful and engaging learning experience for groups. Although most students are excited to be at the museum on a tour, you will get the occasional child who will disrupt the tour and for whatever reason will not be disciplined by his/her group leaders. If this is the case, you can follow this guideline to steer the behavior in the right direction. 1. If the child is talking out of turn or bothering the other children, begin by asking that child a specific question about the art to answer. Usually children act out when they want attention. Giving them the spotlight for a little while might do the trick. 2. If the child continues to express unruly behavior, give a verbal warning. Clearly explain with a firm (but not scary) voice that they must raise their hand to speak and that their behavior is distracting to everyone in the group. Usually this will stop the behavior but if it doesn’t… 3. Ask one of the chaperones to please pull the child aside and talk with him/her and remain with the child for the remainder of the tour. 4. If the behavior persists, the child can be warned about a time out, or actually put in time out (for however long you think is fair) in the lobby with a chaperone and the security guard. 5. If you find that the behavior is really out of control (or that there are multiple children being unruly), then you can end the tour early and ask the group to leave. It is unlikely that you will ever have to ask a group to leave, but you do have the freedom to do this. It is not your responsibility to be a babysitter and discipliner. If you are no longer able to lead the group through an organized learning experience and are concerned over the safety of the artwork, then the tour should be ended and the group should be asked to leave. Security staff will be there to help you to guide the group out of the museum. *In the event that you get a parent or teacher complaint, please direct them directly to me. If I am not in my office, give them my business card and ask them to get in touch with me. (I keep a stack at the front desk). ●Emergency procedures These will be discussed during docent training sessions with instructions handed out. ●Membership All docents are required to become members of UAMA. Museum members support the Museum mission through dues, active participation in fundraising activities and service as volunteers. There are many types of membership including Basic, Associate or Partner levels with a range of benefits. Go to the UAMA website for more information or pick up a brochure at the museum. ●Meeting attendance Docent meetings are held every Monday morning at 9:00am for new docents and 10:00am for all docents, from mid-September through mid-May. The docent year ends with a potluck, hosted by a fellow docent. New docents will occasionally be required to attend additional meetings, also on Mondays, for specialized training. Docents are expected to attend at least ¾ of the annual meetings and facilitate ten tours or events each year. ●Docent expectations Strive to fulfill the education mission of UAMA Act as an ambassador both at and away from the Museum. Demonstrate your passion and enthusiasm for the Museum and art. Actively engage and respond to visors Facilitate tours and other activities with the understanding that approaches might need to be adjusted to fit the group. Interact with and respect all people and their opinions. ●In addition docents should also: Feel comfortable working in a team atmosphere with people of various backgrounds and points of view Be prompt, dependable, and timely in correspondence Be comfortable speaking in front of a group Be capable of standing for extended periods of time. ●DOCENT TRAINING PROGRAM The training runs September through May on Monday mornings from 9:00am11:30am. (New docents only 9-9:30, break for coffee, 10am meeting with all docents) You can expect to learn about: 1. Art history, studio art and aesthetics. 2. Presentation and touring techniques. 3. Ways to engage groups of various ages and developmental stages. 4. Art historical approaches with special attention paid to works from the Museum’s permanent collection The training varies in approach from lectures, to partner and group work, to visiting speakers, and field trips around town. Do not expect a linear approach to learning the history of art. The trainings are centered on the permanent collection and changing exhibitions. As such, there will usually be a mixture of artists, styles, and time periods. Expect to actively participate in group discussions and complete various assignments and readings. Each docent that is new to the docent program will “graduate” upon completion of a mock tour that will be evaluated by the other docents and the Curator of Education. These evaluation tours will be scheduled for April and May. The docent guide chooses their theme and audience and leads their peers through the tour. After completing the tours, the new docents will receive their tour badges and can start leading school tours. UAMA Docent SELF EVALUATION Form As you build your touring experience, use this evaluation form as your guide. Self reflection after each tour is a great way to grow as an experience docent. Date Yes/No Audience PREPARATION: Did you… ___ Walk the planned tour route prior to the tour to check the status of objects planned? ___ Arrive early and begin the tour on time? INTRODUCTION: Did you… ___ Extend a warm welcome and introduce yourself to the visitors? ___ Exhibit a welcoming, confident, and enthusiastic attitude? ___ Establish a rapport with the group? ___ Give a general introduction to the museum and review museum rules? ___ Present a theme or purpose for the tour and explain what will happen? COMMUNICATION: Did you… ___ Use voice in a clear and audible manner? ___ Appear at ease and passionate about the artwork? ___ Make eye contact with the audience? ___ Allow time for looking in silence? ___ Use VTS and ask: What’s going on in this artwork? What makes you say that? ___ Notice group reactions and adjust to interest levels, attention span, and language skills? ___ Compare, contrast, and create context for the artwork—historical, cultural and/or social? ___ Talk about the materials and methods of creating art? ___ Review, summarize, or paraphrase during the discussion? CONCLUSION: Did you… ___ Allot time well and complete the tour in approximately one hour? ___ Provide a conclusion that summarized key ideas and encouraged further exploration? ___ Invite the group to come back? DOCENT PROGRAMS ●Guided and Self-Guided Tours The museum requires that groups of 8 or more contact the Education Department to schedule a tour of the museum or public art. More than 200 group tours are scheduled at the museum each year with approximately half of the tours led by docent guides. Guided tours are completely customized to fit the needs of the group. After the reservation has been made, the lead docent contacts the tour leader to discuss the goals and structure of the tour. The docents then create a tour that reflects the desired outcomes. Most guided tours are for K-12 school children, but on occasion docents will lead tours for college students and other adult groups. ●Adult Outreach Some docents are contributors to the Adult Outreach Program—a program completely run and sustained by docents. UAMA docents give Powerpoint presentations in various locations around Tucson including senior centers and the public libraries. These talks are in an effort to share the Museum with Tucson and increase the public’s awareness about the Museum. In addition, it’s a public service to the community, allowing for people to experience art who otherwise do not have the means to do so. Docents have the flexibility to pick their own topic of interest and they spend many hours planning and researching their presentations prior to presenting them. The docent outreach team meets a few times a year. If interested, please contact Carolyn Rivers carolynriv@comcast.net or Carol Petrozzello carolp@email.arizona.edu to find out how to get involved. ●Special Events Apart from leading group tours at the museum, docents are needed for many special events at the museum including exhibit openings, and annual fundraising events. The tasks vary from welcoming visitors, to leading tours, to facilitating activities. There are also other events on campus in which docent participation is needed such as the Festival of Books. These opportunities will be announced in meetings and will be posted on the docent Wikispace. POLICIES AND PROCEDURES ●Procedures for signing up and giving a tour There are two ways to sign up for tours. You will receive emails asking for tour guides in which case you can respond to the email. Or you can sign up during the weekly Monday meetings. ●Lead docent duties If you have signed up as the lead docent for a tour, there are a few things that you will need to be responsible for. 1. Contact the tour leader to confirm their reservation. Here is an example of what you might say: I am the lead docent for your tour at the University of Arizona, Museum of Art. I am looking forward to your students joining us for a tour of the museum’s collection on day, date, time. In order to be sure that we are meeting your student’s goals during your visit, I would appreciate hearing from you if you have any specific themes, requests, or outcomes that you would like us to address with your students during the tour. Our collection of original artworks is broad with art dating from the early Middle Ages through current times (in addition to special temporary exhibitions). We can insure that your students are exposed to the full range of art, or a specific era, type or genre. Our interest is to meet your needs and provide a tour that will enhance your teaching goals and be a fun experience for your students. Please contact me by either email (email address), or by calling my home at (phone number), so that we can discuss the type of tour you wish to have. In addition, please let me know if you have any special needs students who require an accommodation. Please note: Tours are on a limited time frame, please have your students divided into groups of 8 to 12, plan to arrive 10 to 15 minutes early and provide nametags for your students so that we can give our introduction to the entire group before we go into the museum galleries. 2. Contact the other docents who have signed up for the tour and inform them of this information. 3. Arrive at least ten minutes early to the museum on the day of your tour. 4. Get parking permits for all docents leading the tour. See Katy, the business manager about parking permits. 5. Don’t forget to record your hours! ●Logging in hours Docents are to log in all their hours in a binder book kept at the front desk in the lobby. Each docent has his/her own page in the binder for this purpose. This record of hours shows the extent of the involvement of all volunteers and the contribution they make to the UAMA. Activities included are tours, meetings, study at the UAMA or elsewhere, time spent in travel to/from the UAMA, and any other activity that relates to your docent work, whether at the UAMA or elsewhere. ●Parking passes Parking should be done at the UA Car Park on Speedway and Park, near the UAMA. Docents pay a $3.00 fee maximum when attending any activity at the UAMA, except when they give tours, when the parking is free. Upon leaving the Car Park, tell the cashier there that you are a docent and your fee will be $3.00. If you have led a tour that day you will receive coupons from the Lead Docent for that tour that will pay your parking fee in full. If you are the Lead (or only) docent that day you can get the needed coupons from the front desk. HELPFUL RESOURCES ●Here you can find out more detailed information about current and upcoming exhibits at the UAMA. Keep checking back as the information is regularly updated. https://uamadocents.wikispaces.com/ ●This is the basic site for information about the museum, its activities, and its collections: http://artmuseum.arizona.edu/information.shtml ●List of libraries on campus http://www.arizona.edu/libraries ●The Tucson Museum of Art also has a research library that is open to the public. The books are not available for checkout, but you may go and do research on site. http://www.tucsonmuseumofart.org/education/research-library.php ●Photocopier A photocopier is available in the office at the rear of the Lipchitz Gallery. [Use copier code: 95065] ●Props A collection of props useful for docent presentations will be found in the store room at the rear of the museum sales area. ●Curatorial files Each artwork in our collection has a file associated with it. Object files are located in the basement. If you are doing research on a work in our permanent collection and would like to review the file, please arrange a time with Olivia Miller. ●Database [Past Perfect] All objects in the UAMA collection and archives are entered in this data base, called Past Perfect. Access to these files is through UAMA staff. Docents are encouraged to use this base to do research for use in their tours. ●List of national museum organizations National Art Education Association www.arteducators.org/ College Art Association www.collegeart.org National Docent Symposium Council www.nationaldocents.org/ Tucson Association of Museums www.tucsonmuseums.org American Associaiton of Museums www.aam-us.org/ ●Helpful web resources such as NGA classroom, Getty Museum http://www.metmuseum.org/toah/: A very thorough timeline of the history of art http://www.nga.gov/education/classroom/ Ideas for art lessons for every age group http://www.getty.edu/education/ Includes museum education lessons as well as professional evaluations of education programs. ●List of local museums, galleries, and other historic monuments Center for Creative Photography Tohono Chul Park Arizona State Museum Etherton Gallery Arizona Historical Society San Xavier Mission Joseph Gross and Lionel Rombach Pima Air and Space Museum Gallery Sonoran Glass Academy Tucson Museum of Art Temple of Music and Art The Process Museum MOCA DeGrazia Gallery