The Art of Examination Course Spring 2017 UT Southwestern Medical School – Med 1039

Course Directors: Bonnie Pitman, Distinguished Scholar in Residence, Edith O’Donnell Institute of Art History, UT Dallas Heather Wickless, MD, (faculty sponsor) Assistant Professor of Dermatology, UTSWAmanda Blake, Interim Director of Education, Dallas Museum of ArtCourtney Crothers, UTSW Art Curator

RATIONALEThe Art of Examination is a preclinical elective focusing on developing skills for clinical diagnosis through looking at works of art. Through experiences with artwork, students in the course will improve visual literacy skills, which are the ability to observe, analyze, interpret, and make meaning from information presented in the form of an image and relates to both examining patients as well as artwork. The course uses the power of art to promote the analysis and communication necessary in addressing ambiguity in the physical exam and patient interaction.

We discuss factors influencing what we see, and how we interpret visual information. Other topics include conservation, artists with disease, empathy, physician burnout and cultural influences, with their implications for medical practice. Participants will cultivate habits of close observation, inspection, and cognitive reflections to shape his or her early medical career. Students will learn to synthesize observations and one’s own knowledge and experiences as well as an awareness of the collaborative thinking process of the group, a skill vital to successful clinical practice.

The class will engage students in discussions, drawing and writing exercises, lectures, and interactive experiences that will foster communication. This is not an art history class and students need no previous training in art to participate. The course meets in accordance with the schedule at the Dallas Museum of Art, Nasher Sculpture Center, The Warehouse, The Crow Collection of Asian Art, and UT Southwestern Medical Campus.

COURSE GOALS - To make detailed observations and improve visual analysis- To communicate observations more effectively- To identify how emotions and bias can affect objective observations

OBJECTIVES- Demonstrate visual analysis skills through accurate and detailed descriptions

of art and clinical images- Increase comfort speaking and writing about visual observations - Develop strategies for dealing with ambiguity and evaluating diverse

interpretations - Demonstrate empathetic communication in the discussion of the human body- Increase student engagement with the arts, The Dallas Museum of Art and

other museums

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FORMAT- 7 two-hour sessions THURSDAYS 5-7pm- Small group discussions and lectures- Drawing, writing, or other creative activity each week- Minimum of 20 students, capped at 30- Classes are held at The Dallas Museum of Art, Nasher Sculpture Center, The

Warehouse, The Crow Collection of Asian Art, and UT Southwestern Campus

COURSE STRUCTUREEach class meets at the designated museum for that date. We will discuss the agenda for that date and work in large and small groups directly with works of art in the galleries to develop visual literacy skills through observation, description, analysis, collaborative interpretations, and presentations of their findings. Each session has a wrap-up discussion for students to provide feedback and discuss how the activity might apply to clinical practice. Sessions will incorporate drawing, photography and writing.

READINGS1. Pitman, Bonnie. The Dallas Museum of Art: A Guide to the Collection; Dallas

Museum of Art, 2011.2. Elkins, James. The Object Stares Back: On the Nature of Seeing. Harvest,

Harcourt Press, 19963. Naghshineh, Sheila, Janet P. Hafler, Alexa R. Miller, Maria A. Blanco, Stuart R.

Lipsitz, Rachel P. Dubroff, Shahram Khoshbin, and Joel T. Katz. "Formal Art Observation Training Improves Medical Students’ Visual Diagnostic Skills." Journal of General Internal Medicine 23.7 (2008): 991-97. Web.http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2517949/

4. Schaff, Pamela B., Suzanne Isken, and Robert M. Tager. "From Contemporary Art to Core Clinical Skills: Observation, Interpretation, and Meaning-Making in a Complex Environment." Academic Medicine 86.10 (2011): 1272-276. Web.http://journals.lww.com/academicmedicine/Fulltext/2011/10000/

From_Contemporary_%20Art_to_Core_Clinical_Skills_.25.aspx

STUDENT EVALUATIONSStudents attending 7/8 sessions and completing a course evaluation will fulfill requirements for course transcript acknowledgment and a passing grade. Evaluations are used to improve future curriculum.

Shuttle Transportation to and from UT Southwestern campus will be provided

MISSED CLASSES: Contact Betty Shaw, Enrichment Electives Coordinator 214-648-9176

A courteous 2-day notice for missed classes with arrangement for a substitute student to attend in lieu of the absent student is polite and requested.

ART OF EXAMINATION Enrichment Elective - MED - 1039, 2017

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THURSDAYS from 5-7 PM

Session 1            Feb 2 Dallas Museum of Art Session 2            Feb 9 Dallas Museum of Art  Session 3            Feb 16 The Warehouse Session 4            March 9 Nasher Sculpture Center and

The Crow Collection of Asian ArtSession 5            April 20 Clements Hospital (4:00 pm – 6:00 pm)Session 6 May 4 Dallas Museum of Art Session 7 May 11 Stoffel Collection Visit Session 8 May 18 Dallas Museum of Art 

Note: Change from original syllabus: no class on March 16  

There is a minimum of 20 Students with a maximum of 30 for this year’s elective. A wait-list for students beyond the maximum limit will be created and maintained by Betty Shaw.

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The Art of Examination UTSW – Medical School 1039

Session 1               Feb 2, 2017         Dallas Museum of Art  

Introduction to Visual Examination of Works of Art:OBSERVING and DESCRIBINGFaculty:Bonnie Pitman, Distinguished Scholar in Residence, University of Texas at Dallas Heather Wickless, MD, MPH, Assistant Professor of Dermatology, UTSWAmanda Blake, Interim Director of Education, Dallas Museum of ArtCourtney Crothers, UTSW Art Curator

I. Welcome and introductions to the course

II. Introduce the course and the value of looking closely at works of art and how it relates to developing diagnostic skills.

Dr. Heather Wickless and Bonnie Pitman

III. Course overview

Observation, visual inspection, with interpretation and verbal communication are essential in medical practice. These visual skills are also used in analyzing works of art. Close visual inspection and cognitive reflection can help students learn to synthesize observations with one’s experiences as well as consider the collaborative thinking process of the group, a skill vital to successful clinical practice. This course is designed to enhance students’ core clinical skills through guided instruction in observation, description and interpretation of visual arts.

Course Goals:

- To make detailed observations and improve visual analysis- To communicate observations more effectively- To identify how emotions and bias can affect objective observations

Objectives:

- Demonstrate visual analysis skills through accurate and detailed descriptions of art and clinical images

- Increase comfort speaking and writing about visual observations - Develop strategies for dealing with ambiguity and evaluating diverse

interpretations - Demonstrate empathetic communication in the discussion of the human body- Increase student engagement with the arts, The Dallas Museum of Art and

other museums

IV: Practicing Observational Skill with Works of Art Bonnie Pitman and Amanda Blake

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Activity: Visual Analysis and Timed Looking: Look and write

about the work, then look and discuss after the analysis

Abduction of Europa Gather as a large group in front of the painting and invite students to look

closely for 90 seconds Ask students to turn away from the painting and record everything that

they remember in their journals Invite students to return to looking at the painting and discuss what

they've written in their journalso What part of the painting first caught your attention?o Invite a volunteer to read their analysis to the group

o What was on everyone else's list?o What did your classmate see that you did not?o What have we missed?

Discuss the narrative/story as it relates to the painting Discuss - what happened before and after this moment? Have the students turn their backs to the painting again and ask them who

in the painting is looking directly at you Discuss the artist's biography - what was happening in David's life at the

time of this painting

KEY POINTS We all see things differently Looking as a team is beneficial and helps to gather more information,

interpretations, and observations Important to slow down and spend time looking at works of art

Move to Level 4

5-6 PM PRACTICE OF PHYSICAL EXAMINATION

ACTIVITY Drawers & Describer activity

Begin with large group discussion about physical examinationso When does a physical examination occur?o What characteristics and qualities is a doctor looking for during the initial

examination?

Jean Baptiste Marie Pierre, Abduction of Europa, 1750

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o What is challenging about doing a physical examination, or what might you anticipate to be challenging?

Drawers and Describerso Partners will be assigned and works of art will be pre-selectedo Demonstrate basic description techniques for students; for example, dividing the

work of art into quadrants to describe, dividing up measurements based on inches or finger digits

o One student in each pair will be the describer and will face their selected portrait. The other student in the pair, the drawer, will sit facing the describer. The describer will describe the figure in the portrait, with a focus on the face. The drawer will draw the figure based on the verbal description given by the describer.

o After 15 minutes, the pair will take a moment to compare and contrast the drawing with the work of art.

o Partners switch roles and repeat the activity with a different portrait.

Group Discussiono Gather as a large group and discuss challenges about the activityo What did you notice about your abilities to listen during the activity? What about

your ability to describe during the activity?o How could you have been more precise or descriptive?

READINGS – distribution of the readings and Handbook for the DMA Collection, Human Body, Session 2

EXTENSION ACTIVITY FOR FEBURARY 9: Think about healing practices. Identify 5 objects in your life, past or present that you personally relate to healing practices and record/illustrate in your journal.

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The Art of Examination UTSW – Medical School 1039

Session 2                     Feb 9, 2017                 Dallas Museum of ArtIntroduction to Visual Investigation with Art: Objects of Healing

Faculty:Bonnie Pitman, Distinguished Scholar in Residence, University of Texas at Dallas Heather Wickless, MD, MPH, Assistant Professor of Dermatology, UTSWAmanda Blake, Interim Director of Education, Dallas Museum of ArtCourtney Crothers, UTSW Art Curator

I. Welcome and introduction to class

II. Course overview

Observation, visual inspection, with interpretation and verbal communication are essential in medical practice. These visual skills are also used in analyzing works of art. Close visual inspection and cognitive reflection can help students learn to synthesize observations with one’s experiences as well as consider the collaborative thinking process of the group, a skill vital to successful clinical practice. This course is designed to enhance students’ core clinical skills through guided instruction in observation, description and interpretation of visual arts.

Course Goals:

- To make detailed observations and improve visual analysis- To communicate observations more effectively- To identify how emotions and bias can affect objective observations

Objectives:

- Demonstrate visual analysis skills through accurate and detailed descriptions of art and clinical images

- Increase comfort speaking and writing about visual observations - Develop strategies for dealing with ambiguity and evaluating diverse

interpretations - Demonstrate empathetic communication in the discussion of the

human body- Increase student engagement with the arts, The Dallas Museum of Art

and other museums

III. JOURNAL REVIEWDiscuss the entries in the student journals to identify 5 objects that relate to healing practices.

IV. Artists as Patients

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a. Presentation on artists with illnessesb. Large group discussion about artists and the impact of diseases on their

arti. Selected artists- Monet, Matisse, Van Gogh, Pollock, Rothko etc.

and the impact of their diseases on their artii. Creative responses to making artiii. Artists representation of illness – Rembrandt and Eakins

V. LOOKING closely with mind and bodya. Group discussion on looking at works of art

i. Take time, open to new ideas, reflect, attendii. Focus attention, generate ideas and meaning, observe,

discover, learniii. Create multiple interpretations, respond with senses, looking

closely is never completely done, use imagination, intuition and create new ideas

VI. COMPARE and CONTRAST Visual Investigations: Human form from different cultures

GROUP 1 – AGE AND ANCESTRY Phillip Evergood, Portrait of My Mother, American Gallery, level 4 Indonesian Ancestor figures – Batak, Indonesian Galleries, level 3

GROUP 2 - PROTECTION Henry Moore, Second floor landing      Vishnu as Varaja, South Asian Gallery, level 3

GROUP 3 – DEATH AND MOURNING Virgin of Sorrows, Colonial Gallery, level 4

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Funerary figure (tau-tau), Indonesian Galleries, level 3

GROUP 4 – HEALING AND RENEWAL

African Cross River Region, Headcrest, Efut peoples; African Galleries, level 3 Xipe impersonator, Ancient American Galleries, level 4

VII. GALLERY ACTIVITIESa. LOOKING and POSING ACTIVITIES b. Gather in small groups c. Invite students to view the work for 60-90 secondsd. Ask students to record in their journals a list/inventory of what they see

in the artwork and compare and contrast to the companion piece i. Where did your eyes go first?ii. What do you think this culture defined and depicted as beautyiii. How is the figure posed and what do you think the meaning isiv. How is the figure adornedv. What would the figure do next if it could movevi. Have someone read their list out loud to the group

1. What are items on everyone’s list?2. What did your classmate see that you did not?3. What have we missed?

e. Posing i. Ask one student to take the pose of the figure and arrange

themselves as carefully as possible in that poseii. Have the other students assist in adjusting and arranging the

posed student more preciselyiii. Take photos to document changes iv. The photos will be shared in the concluding presentaion in the

auditorium

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f. Conclude the large discussion as a group. What are key points for us to take away?

i. We all see things differentlyii. Artist over time and in different cultures see and create beauty

differently iii. Benefits of looking together as a group; gathering more

information through visual observations and interpretationsiv. Slowing down; spending time looking at one work of art

VIII. EXPLORE AND DEEP LOOKINGo Invite students to look on their own with works of art.o Ask students to find an object that brings comfort. Spend time looking at

the object.o Sketch the object.o Create a poem about the object.o Write about which element of design is evident in the object.

IX. Conclusion and Review of Class

EXTENSION ACTIVITY FOR FEBRUARY 16 AT THE WAREHOUSE: Close your eyes and listen carefully to the sounds around you. Identify and in your journal list 5 sounds that give you feelings of joy, and 5 sounds that foster stress. Be prepared to discuss in class on February 16.

Look at the Warehouse website to prepare for the visit on February 16:http://thewarehousedallas.org

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The Art of Examination UTSW – Medical School 1039

Session 3           Feb 16, 2017       Rachofsky Warehouse   Introduction to Contemporary Art: Collaborative Thinking and Close Looking

Faculty:Bonnie Pitman, Distinguished Scholar in Residence, University of Texas at Dallas Heather Wickless, MD, MPH, Assistant Professor of Dermatology, UTSWAmanda Blake, Interim Director of Education, Dallas Museum of ArtCourtney Crothers, UTSW Art Curator

Guest Lecturer: Thomas Feulmer, Director of Educational ProgrammingActivity ideas: respond to a work with sound, or create sounds

Course Goals:

- To make detailed observations and improve visual analysis- To communicate observations more effectively- To identify how emotions and bias can affect objective observations

Objectives:

- Demonstrate visual analysis skills through accurate and detailed descriptions of art and clinical images

- Increase comfort speaking and writing about visual observations - Develop strategies for dealing with ambiguity and evaluating diverse

interpretations - Demonstrate empathetic communication in the discussion of the human

body- Increase student engagement with the arts, The Dallas Museum of Art and

other museums

I. JOURNAL REVIEWSelect students will share sounds in their days that give feelings of joy and sounds that give feelings of stress.

II. Collecting contemporary works of art: The Rachofsky CollectionThe Warehouse is a project initiated by Howard Rachofsky and Vernon Faulconer to make their collections available to curators, scholars, critics and students, and to open new dialogues about postwar Modern and contemporary art. At the heart of the project is an adapted industrial building in Dallas, containing art storage facilities, an extensive library, and 18,000 square feet of flexible exhibition space. Here, The Warehouse presents carefully considered, original exhibitions of works from the Rachofsky and Faulconer collections, complemented by art acquired jointly with the Dallas Museum of Art and works on loan from other significant institutions and

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private collections. For more information about The Warehouse, please visit: www.thewarehousedallas.org

Additionally, leadership from Dallas’s cultural community, comprised of the Marguerite and Robert Hoffman Collection, the Cindy and Howard Rachofsky Collection, and the Collection of Deedie and Rusty Rose joined together in 2005 to vest Dallas with their distinguished collections, securing the Dallas Museum of Art’s future, enhancing its encyclopedic collection, and further establishing the city of Dallas as a center for the study and enjoyment of contemporary art. The gifts to the Museum, which will include all future acquisitions and will enter the DMA’s collection over time, encompass more than 800 works from these three outstanding private collections of modern and contemporary art into the DMA’s permanent collection.

III. Visual Inventory and Group InterpretationExplore Peter Coffin’s work and discuss the definition of ‘play’. Determine how ‘play’ factors into our lives and the relevance of it. Is the idea of play as important or as inherit in animals as it is in humans? Brainstorm ways that participating in activities defined as ‘play’ can help aid in burnout issues that medical students and doctors may be dealing with on a daily basis.

IV. Looking Closely and InterpretationDivide into groups and students select a work of art.Small group discussions to answer: What might this artist know about, care about, or believe in?Each group shares thoughts.

V. Deep Looking Students participate in focused looking on a select work of art. Independent interpretation writing reflection in journal:

How is this work interesting? What mood does this work of art evoke? What message was the artist trying to portray?

While exploring the collection, students reflect on a song and match the song with a work of art. Students share comparisons between songs and artworks.

KEY POINTS We all see things differently Looking as a team is beneficial and helps to gather more information,

interpretations, and observations Important to slow down and spend time looking at works of art

EXTENSION ACTIVITY FOR MARCH 9: In your journal, note what times of day you are the most and the least mindful and record 2-4 of each in your journal.

Look at the Nasher Sculpture Center website and the Crow Collection of Asian Art websites to prepare for the visit on March 9:http://www.nashersculpturecenter.orghttp://crowcollection.org

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The Art of Examination UTSW – Medical School 1039

Session 4                     March 9, 2017                     Nasher Sculpture Center and Crow Collection of Asian Art  

Faculty:Bonnie Pitman, Distinguished Scholar in Residence, University of Texas at Dallas Heather Wickless, MD, MPH, Assistant Professor of Dermatology, UTSWAmanda Blake, Interim Director of Education, Dallas Museum of ArtCourtney Crothers, UTSW Art Curator

Guest Lecturers: Anna Smith, Curator of Education, Nasher Sculpture CenterColleen Borsh, Manager of School and Family Programs, Nasher Sculpture CenterLynda Wilbur, Manager of Tour Programs, Nasher Sculpture Center

I. Introduction to the Nasher Collectiono Overview and scope of the collectiono Raymond and Patsy Nasher as collectors: why they pursued sculpture

II. JOURNAL REVIEWSelect students will share their most and least mindful times of day.

III. Serra Activitieso Re-seeing: Experiencing My Curve Are Not Mad in space and through

drawingo Drawing is Thinking: Viewing Serra’s prints through timed drawing

exercises and quoteso Moving Through Space: Connecting Serra with Richard Long through

movemento Verbs: Altered paper exercise and documentation

IV. Concluding discussion and transition to the Crow Collection of Asian Art

Crow Collection of Asian Art: MINDFULNESS in ACTIONI.            Walking Meditation

           *Stools set up in Grand Gallery

o Before leaving the Nasher, give brief introduction and tell students we will be walking across the street and into the Crow Collection but ask them to do so without speaking and to be aware of what’s around them and notice any changes they experience during the walk, let them know that they can leave any backpacks, food, drink at the front desk

o Lead students to the Grand Gallery through the museum

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o Ask students to share any observations. What did they notice? What did they notice that perhaps they wouldn’t have if they had not been given the instructions they were?

o Ask students what the benefits of this increased awareness may be

X. Instructions and History of the Crow Introduction: Jill, share brief history of the Crow, museum always freeo Introduction: Shoshana, share reasons for wellness programs and

approach at the Crow

III.          Think, Puzzle, Explore

o Ask students what they think about mindfulness. What is their definition? Is it relevant to their work? What are the positives of being mindful? Share out.

o Ask students what puzzles them about mindfulness? What do they not know or understand? What do they have questions about?

o Ask students what they want to want to explore in regards to mindfulness?

IV.          Journey through the landscape

o This is a smaller space. Give students 2 minutes to walk around the space, being mindful of others around them, as well as the space. Ask them to look at the works as they are walk, and stop and look longer at any works that draw their attention. Ask them to notice what small parts/details make up the whole painting (such as brushstrokes)

o After two minutes of exploring, ask students to find work that makes them feel calm or that exhibits calmness in some way. Have students share out what about the work induces and exudes calmness

o Ask students to now find a space in the landscape and take a step inside, imagining they are now standing in that space

o Lead them through awareness of the five senses to explore the scene they are within. Now draw attention even further inward to the breath. Lead them through awareness of sensations in the body caused by breath.

o Have students open their eyes. Share out how that felt. Ask how they think the artist may have felt when creating these works.

o Share out what they experienced (what did you see, taste, touch, smell, hear..)

o Share context about these paintings They incorporate travel and photography as well as memory,

imagination, balance, and knowledge of traditional Chinese Ink Painting through artists collaboration

Journey through a Chinese Landscape Chinese landscape paintings are imbued with the artist’s emotions and

personal connectionso Take final comments, questions about this gallery.

V.      Focus Activity: Awareness of the parts that make up the whole (15)

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o Lead students through an activity of focusing on the entire work as well as focusing on the smallest details. Have them start in the back of the room looking at the entire Facade then move closer to look at the details. Share observations

o Share context of geometric patterning in Islamic art and architecture. Possibilities of limitless growth. Hundreds of craftsmen working on sections of the whole. Relate to the human body. Complex. When you focus on one system is important to gain deeper knowledge and awareness of the entire being. The small section also relates to the whole. One can’t exist without the other

o Take any final comments or questions. Walk to Landscape Relativities in Garden Gallery. Once in the new space ask if anyone felt more aware of their surroundings as we walked.

VI.   Conclusion: Think, Puzzle, Explore

o Ask students again what they think about mindfulness. When could they use these practices in everyday life or in their studies, future careers? What benefits could they find in using mindfulness in their medical practices?

o Ask students what still puzzles them about mindfulness? o Ask students what they still want to explore about mindfulness?

EXTENSION ACTIVITY FOR APRIL 20 AT CLEMENTS HOSPITAL: Identify pantone colors that are on your body (eyes, hair, and skin). Take a photo of the body part that matches a Pantone color, make a list in your journal of at least 5 color matches and be prepared to discuss in class at on April 20.

Review the work of Joseph Albers:

Interaction of Color by Josef Albers on the App Store - iTunes - Applehttps://itunes.apple.com/us/app/interaction-color-by-josef/id664296461?mt=8

http://albersfoundation.org/teaching/josef-albers/interaction-of-color/publications/

Look at the Clements Hospital websites to prepare for next week’s visit:

http://www.utswmedicine.org/hospitals-clinics/clements/

http://www.utswmedicine.org/hospitals-clinics/clements/about/facility/art.html

NOTE: APRIL 20 class will be held from 4:00 pm – 6:00 pm

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The Art of Examination UTSW – Medical School 1039

Session 5                     April 20, 2017                 Clements Hospital   Visual Exploration: The Color RedFaculty:Bonnie Pitman, Distinguished Scholar in Residence, University of Texas at Dallas Heather Wickless, MD, MPH, Assistant Professor of Dermatology, UTSWAmanda Blake, Interim Director of Education, Dallas Museum of ArtCourtney Crothers, UTSW Art Curator

I. Clinical: Dermatology Presentation a. Color perception; how are hues of color depicted and presented

different on various shades of skin tone?b. Discuss skin variations.

II. JOURNAL REVIEWDiscuss the entries in the student journals to identify pantone colors that are on students’ bodies (eyes, hair, and skin).

III. Color Exploration: Joseph Albers’s Interactions of Color: Red a. Review Albers’s Interaction of Color and discuss visual perception with

color.

IV. Color Interaction Activitya. Distribute Pantone papers in various colors. Invite students to play with

colors and reflect on various color value in different hues. Ask students to explore how the colors change and vibrate when placed next to different color selections. Groups of students may work with one another to change and refine color selections.

V. Color Interaction Activity: Match skin tone with Pantone color chipa. View a selection of photos from the previous Extension Activity. Review

various color values in different hues. Discuss differences in undertones between similar colors and how those differences become pronounced when colors are placed together.

VI. Tour of the Clements Hospital Color and beyond Collaborative problem-solving

a) Students gather in front of Dornith Doherty’s series, Millennium Seed Bank Research Seedlings and Lochner-Stuppy Test Garden.

b) In groups of 4-5, analyze the work and develop a “diagnosis” for what is being depicted.

c) Elect a member to present the group’s diagnosis.d) Discussion and reveal [Provide title of work and copies of artist

interview]i. As you discussed the work, did group members offer

perspectives you had not considered?ii. Was your diagnosis correct?

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Application of Alber’s Interactions of Colore) Convene in front of Oli Sihvonen’s painting Untitled 117 (1963) – 3rd

floori. Study the work for 60 secondsii. Group discussion:

1. Composition – are the ovals on the same axis? Are they the same size? How many ovals do you see?

2. Color – do some ovals seem to recede? How many colors do you see? Does color affect the perceived size of the ovals? 3. What lessons can you draw from this exercise that you might apply clinically?

Identifying subtle differences; color and layering f) Gather around Spencer Finch mobile – 3rd floor

i. Quietly look at the work for 2 minutes.ii. Discuss what you see

1. Any differences in the panes of glass?a. 2 different sizesb. 3 levels of opacity

iii. How does this work make you feel? What was the artist’s intention?

g) Gather around the Liam Gillick piece – 1st floori. Quietly look at the work for a momentii. Observe the effects of the layered Plexiglas

1. What new colors are created by layering?2. What effect does the colored Plexiglas have on the view

beyond?iii. How does this work affect the surrounding area?

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EXTENSION ACTIVITY FOR MAY 4: 1. In your journal define the difference between Empathy, Sympathy and

Compassion 2. Identify and list in your journal 5 ways that you have been empathetic and 5 ways

that you have been sympathetic. Be prepared to discuss in class on May 4.

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The Art of Examination UTSW – Medical School 1039

Session 6                     May 4, 2017               Dallas Museum of ArtExploring Empathy and Observing in New WaysFaculty:Bonnie Pitman, Distinguished Scholar in Residence, University of Texas at Dallas Heather Wickless, MD, MPH, Assistant Professor of Dermatology, UTSWAmanda Blake, Interim Director of Education, Dallas Museum of ArtCourtney Crothers, UTSW Art Curator

Course Goals:

- To make detailed observations and improve visual analysis- To communicate observations more effectively- To identify how emotions and bias can affect objective observations

Objectives:

- Demonstrate visual analysis skills through accurate and detailed descriptions of art and clinical images

- Increase comfort speaking and writing about visual observations - Develop strategies for dealing with ambiguity and evaluating diverse

interpretations - Demonstrate empathetic communication in the discussion of the human

body- Increase student engagement with the arts, The Dallas Museum of Art and

other museums

I. JOURNAL REVIEWShare the difference between Empathy, Sympathy and Compassion and the ways that they have been both empathetic and sympathetic.

II. Empathy and sympathya. Group discussion

i. How might you use empathy and sympathy in practice? ii. Think about giving bad news, end of life situations, dealing with

caregivers, etc.iii. Brainstorm: how have you expanded your sense of empathy

since being in medical school?

III. Visual Investigations: Empathy and Compassion with works of art

LEVEL 4

Gothic Bed, c. 1844, Crawford Riddell What are some words to describe this piece of furniture? What type of person would have this bed? Can a piece of furniture tell a story? What type of story might this one tell? What do people do in beds?

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Does this bed look comfortable? Would this bed go in your bedroom? What other types of

furniture would you want to have, if this were your bed? Compare an object’s history with a patient’s history

o Share object file info. What more did you learn about the history and care of this object by studying the files?

LEVEL 3

Standing power figure (nkisi nkondi)Late 19th-early 20th centuryWood, Iron, Raffia, Ceramic, Pigment, Kaolin, Red Camwood, Resin, Dirt, Leaves, Animal Skin, and Cowrie Shell Look at the statue from all sides. How would you describe

this artwork to a friend? This sculpture is called an nkisi nkondi. It was made for a

specific purpose, and the materials that it is made from help itpreform its function.

Take the pose of this nkisi. What about this artwork do you think is (or isn’t) powerful-looking?

Identify something you find to be beautiful about this artwork. What connections do you have with this artwork? Review x-rays. How do these findings compare to those of a patient’s x-rays?

What more did you learn about the nkisi by studying the x-rays?

LEVEL 3

Buddha Sakyamuni, c. 13th century, gilded bronze, 2006.21 What do you notice about this work of art? Discuss spread of Buddhism and t language of symbols

and hand gestures. Listen to Thai chant and meditate Stand in the posture of the Sculpture—notice the

placement of the body and discuss the relaxed or alert status

LEVEL 2

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Apollo and Diana Attacking the Children of Niobe, Jacques-Louis David, 1772, oil on canvas

Analyze the composition of the painting and develop a story from the clues that are in the image.

If you were a doctor in this scene, who would you treat first and why? Pick one person in this painting and explore what they might be thinking. What is going on in this scene?

IV. CONCLUSIONConclude the large discussion as a group. What are key points for us to take away?

Benefits of looking together as a group; gathering more information through visual observations and interpretations.

Gained sense of empathy by spending time looking at works of art and making inferences about emotions, stories, and culture imbedded in an artwork.

Drawing connections between the history of an object and the history of a patient.

EXTENSION ACTIVITY FOR MAY 11, VISIT THE STOFFEL COLLECTION: 1. In your journal make notes on 3-5 of the artist the Stoffels have in their

collection: Gerhard Richter, Robert Ryman, Ellsworth Kelly, Martin Kippenberger, and Andy Warhol.

2. Do research about Dallas Art Collectors – we have an amazing group of people who support the DMA and Nasher.

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The Art of Examination UTSW – Medical School 1039

Session 7                     May 11, 2017                           Stoffel Collection

Conversation and tour of the Paul and Gayle Stoffel CollectionFaculty:Bonnie Pitman, Distinguished Scholar in Residence, University of Texas at Dallas Heather Wickless, MD, MPH, Assistant Professor of Dermatology, UTSW

Collectors:Paul and Gayle Stoffel

I. Introduction to Collectors Gayle and Paul Stoffel

II. JOURNAL REVIEWShare comments and questions about 3 of the artists the Stoffels have in their collection with the Stoffels and group (Gerhard Richter, Robert Ryman, Ellsworth Kelly, Martin Kippenberger, and Andy Warhol.)

Share research about other Dallas art collectors.

Gayle and Paul Stoffel When Gayle and Paul Stoffel ran out of room for their collection, they demolished their Dallas home of 17 years to make way for a 15,000-square-foot house designed specifically for their sizable holdings of paintings, sculptures, and works on paper. As Gayle commented in 2013 they realized they wanted “to live with the art, not just visit it.” The Stoffels’ collection covers 60 years of postwar art and includes works by Ellsworth Kelly, Martin Kippenberger, and Andy Warhol, among many others. While they have their favorite pieces, all of the Stoffels’ works are well-loved…and well-lighted. Theirs is the first residence to be honored with custom lighting from L’Observatoire International—the same company that has done lighting design for the Metropolitan Museum of Art and the Guggenheim Abu Dhabi.

EXTENSION ACTIVITY FOR MAY 18 AT DALLAS MUSUEM OF ART: In your journal, identify 5 ways that you take care of yourself through preventative maintenance and 5 things you do to improve your appearance. Be prepared to discuss in class.

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The Art of Examination UTSW – Medical School 1039

Session 8                     May 18, 2017         Dallas Museum of Art   The Science of Conservation Faculty:Bonnie Pitman, Distinguished Scholar in Residence, University of Texas at Dallas Heather Wickless, MD, MPH, Assistant Professor of Dermatology, UTSWAmanda Blake, Interim Director of Education, Dallas Museum of ArtCourtney Crothers, UTSW Art Curator

Guest Lecturers:Laura Hartman, DMA Conservation Fellow

I. JOURNAL REVIEWSelect students will share things they do to take care of themselves through preventative maintenance and things they do to improve their appearance.

II. Introduction to Conservation and Partnerships

III. Conservation presentations by Laura Hartman and Bonnie Pitman o Discussion of the connection between conservation science and

medical practice, including technical resources and the documentation process of works of art.

IV. Duel Tours of the DMA Conservation Lab with Laura Hartman and Object Conservation Lab and Bonnie Pitman

o DMA conservators tour students through objects and the painting conservation labs learning about analyzing objects and the process for examination and repair.

o Students work in teams of 3-4 to select an object and work together to complete a condition report on an object in the two conservation studios

o Come together as a large group to discuss experience of creating an object report as a team and how it relates to their conservation tours and healing and curing in medical care.

EVALUATION of the Class Invite students to complete course evaluation while gathered at the last stop

on Level 2

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