Compiled by:

MICHAEL CHRISS- UAMA Docent OLIVIA MILLER- UAMA Curator of Education

DOCENT HANDBOOK2012-2013

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 MillerCurator 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. Id# Name Title Creator Date1961.013.002 Painting The Incredulity of St. Thomas Giuseppe Bazzani c. 17301961.013.006 Painting The Crucifixion Guidoccio Cozzarelli c. 1483

1961.013.013 Painting Ciborium (also, 17 Scenes from the Life of Christ)

Follower of Pacino di Bonaguida c. 1325

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

1 1,2 1961.013.031 Painting+xray pix The Creation of Eve Maestro Bartolomé after 1493

2 1,2 1961.013.046 Painting+xray pix Pilate Washing His Hands Fernando Gallego 1480-1488

3 sample styles in retablo

4 1 1961.013.055 Painting St. Mark and St. Thomas Fernando Gallego 1480-14884 2 1961.013.053 Painting St. Andrew and St. Peter Fernando Gallego 1480-14884 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 1480-14884 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 Workshop 1480-1488

4 8 1961.013.045 Painting The Betrayal of Christ Fernando Gallego and Workshop 1480-1488

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 31961.013.052 Painting The Last Judgment

Fernando Gallego, Francisco Gallego and Workshop

1480-1488

5 4 1961.013.030 Painting Chaos Maestro Bartolomé after 1493 5 5 1961.013.033 Painting Christ Among the Doctors Maestro Bartolomé 1480-14885 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 1480-14886 1 1961.013.048 Painting The Way to Calvary Maestro Bartolomé 1480-14886 2 1961.013.034 Painting The Temptation Maestro Bartolomé after 1493 6 3 1961.013.041 Painting The Transfiguration Maestro Bartolomé 1480-14886 4 1961.013.043 Painting The Last Supper Maestro Bartolomé 1480-14886 5 1961.013.049 Painting The Crucifixion Maestro Bartolomé 1480-14887 1 1961.013.050 Painting The Deposition Maestro Bartolomé 1480-14887 2 1961.013.051 Painting The Resurrection Maestro Bartolomé 1480-14888 1 1961.013.032 Painting The Circumcision Fernando Gallego 1480-14888 2 1961.013.036 Painting The Charge to Peter Fernando Gallego 1480-14889 compositio

n models10 James

Tissot11 1 + Intro to

Kress Coll. 1962.009.001 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. 148114 1 1962.009.006 Painting Two Olivetan Monks Francesco Morone c. 150514 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 Adonis Domenico Tintoretto c. 1590

15 2 1961.013.012 Decorative Cassone Unknown Italian

artisan c. 1500

16 1 1961.013.026 Painting The Circumcision of the Children of Israel

Studio of Giovanni Battista de Tiepolo c. 1735

17 1 1961.013.001 Painting Madonna and Child with Angels

Niccoló di Ser Sozzo Tegliacci c. 1360

18 1 1961.013.007 Painting Madonna and Child Enthroned Jacopo del Casentino c. 1340

18 21961.013.021 Painting Madonna and Child (also,

Madonna dell'Umilta)

Studio of Bartolommeo Bulgarini

c. 1350

18 31961.013.016 Painting

Madonna and Child Adored by Two Angels (also, Madonna of Humility)

Follower of Agnolo Gaddi c. 1350

18 4 1961.013.011 Painting Coronation of the Virgin Taddeo di Bartolo c. 140518 5 1961.013.020 Painting Madonna of Humility Zanobi Strozzi 1446-4818 6

1961.013.015 Sculpture Virgin and Child (also, Madonna and Child) Unknown French

not dated (second half of the 14th century)

19 1 1962.009.002 Painting Madonna and Child Follower of Michele Giambono c. 1450

19 2 1961.013.004 Painting Virgin and Child Studio of Lucas Cranach, the Elder c. 1513

19 2 1962.009.003 Painting Madonna and Child with Angels

Follower of Giovanni di Paolo c. 1475

19 31961.013.022 Painting The Visitation

Master of the Retablo of the Reyes Católicos

1496-97

20 1 1962.009.007 Painting Pietà Francesco di Bosio Zaganelli c. 1514

21 1 1961.013.003 Painting Madonna and Child with Saints Vittore Carpaccio c. 1515

22 1 1961.013.009 Painting The Holy Family (with Madonna Seated Near a Tree)

Follower of Andrea del Sarto c. 1525

23 1 1962.009.009 Painting Head of a Bearded Man Attributed to Marietta Tintoretto c. 1580

24 1 1961.013.019 Painting The Consecration of St. Eligius Juan de Juanes c. 1536

25 1 1961.013.023 Painting Portrait of a Magistrate Giovanni Battista Moroni c. 1570

26 1 1961.013.028 Painting The Countess von Schönfeld and Her Daughter

Elisabeth Louise Vigee-Lebrun 1793

26 2 1961.013.008 Painting Young Woman in a White Dress

Attributed to Jacopo da Pontormo c. 1529

26 3 1961.013.010 Painting A Greek Sage Jusepe de Ribera c. 163027 1

1961.013.027 PaintingPortrait of the Marchesa Cunegonda Misciattelli with Her Infant Son and His Nurse

Emile-Jean-Horace Vernet 1830

28 1 1961.013.025 Painting The Sacrifice of Iphigenia Studio of Giovanni Battista de Tiepolo c. 1735

KRESS II GALLERY KRESS I GALLERY

KRESS WALL

enter WALL NUMBERING DIAGRAM

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● THE UNIVERSITY OF ARIZONA MUSEUM OF ART STAFF DIRECTORY

Christine Aguilar, Administrative Assistantvca@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 Directorkelly@email.arizona.edu (520) 621-9503

Andy Leahy, Security Officer aleahy@u.arizona.edu (520) 621-7567

Jill McCleary, Archivistjillmccleary@email.arizona.edu (520) 626-7187

Olivia Miller, Curator of Educationmillero@email.arizona.edu (520) 626-9899

Carol Petrozzello, Marketing Specialistcarolp@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 Developmentsum@email.arizona.edu (520) 621-2087

Museum staff can be reached at:

The University of Arizona Museum of ArtP.O. Box 210002Tucson, AZ 85721-0002(520)621-7567(520) 621-8770 (fax)

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 9:00am-

11:30am. (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 Audience

Yes/No 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

Arizona State Museum

Arizona Historical Society

Joseph Gross and Lionel Rombach

Gallery

Tucson Museum of Art

The Process Museum

MOCA

DeGrazia Gallery

Tohono Chul Park

Etherton Gallery

San Xavier Mission

Pima Air and Space Museum

Sonoran Glass Academy

Temple of Music and Art