Postgraduate Course: TPG Curatorial Theory (ARTX11032)
|School||Edinburgh College of Art
||College||College of Humanities and Social Science
|Credit level (Normal year taken)||SCQF Level 11 (Postgraduate)
||Availability||Not available to visiting students
|Summary||You will engage in the study and interpretation of contemporary art in a range of locations and settings, examining how artworks are displayed and consumed in professional institutional spaces such as museums and commercial galleries, as well as exploring issues connected to artist run spaces and public, socially engaged artworks.
You will consider how artists can work collectively and collaboratively to organise and self curate exhibitions. Your research and analysis into exhibition and curatorial practice will be designed to inform and guide your approach to the exhibition opportunities provided by the program (such as project space, masters project).
In this course, through a series of seminars, lectures and site visits you will examine some of the key contemporary and historical issues within exhibition and gallery practice and culture. You will look at critical issues relating to the 'ideology of the white cube', the history and politics of Artist-run spaces, the role of collectives and collaborative practice in the development of gallery culture and lastly the possibilities and potential of digital technology and culture to develop new ways of displaying, distributing and producing contemporary art practice.
The first 5/6 weeks will be taught together with the TPG Curating course.
Entry Requirements (not applicable to Visiting Students)
||Other requirements|| None
Course Delivery Information
|Academic year 2018/19, Not available to visiting students (SS1)
|Learning and Teaching activities (Further Info)
Lecture Hours 2,
Seminar/Tutorial Hours 12.5,
Fieldwork Hours 16,
Feedback/Feedforward Hours 1,
Programme Level Learning and Teaching Hours 4,
Directed Learning and Independent Learning Hours
|Assessment (Further Info)
|Additional Information (Assessment)
||Assessment will be based on the following components:
3000 Word Essay (70%) - assessment will be based on Learning Outcomes 1 and 2 (Research and Analysis).
Seminar Participation (30%) - assessment will be based on Learning Outcome 3 (Communication).
||Continual formative feedback will be provided during group presentations of critical analysis and research into chosen themes.
Written feedback will be provided for the 3000 word essay and seminar participation, and will address each Learning Outcome in relation to the work produced.
|No Exam Information
On completion of this course, the student will be able to:
- Research - Working in groups and independently, demonstrate a high level of research into contemporary discourses and issues within contemporary curating, exhibition practices and collective organisation in your group seminar presentations and essay submission.
- Analyse - Critically analyse a range of textual and non-textual examples (based on site visits and fieldwork) concerning curatorial and exhibition practice in your seminar participation and in your written work. Demonstrate in your analysis an understanding of how the meaning of objects and artworks are generated by exhibition and display contexts and skills.
- Communicate - Demonstrate the ability to write, discuss and visualise an in-depth understanding of the core issues within contemporary curating and exhibition practice, utilising written and oral forms that are imaginative and open to the possibilities of digital forms of production and distribution.
|BISHOP, Claire, Artificial Hells: Participatory Art and the Politics of|
Spectatorship. Verso, 2012.
BISHOP, Claire, Participation ¿ Documents of Contemporary Art.
Whitepchapel Art Gallery 2006.
BOURDIEU, Pierre , The love of art : European art museums and
their public, Published:Cambridge, UK : Polity Press, 1997.
BOURDIEU, Pierre, In the Field of Cultural Production, Polity Press
KESTER, Grant, Conversation Pieces: Community and
Communication in Modern Art. University of Calfornia.2013.
KRYSA, Joasia, Curating immateriality : the work of the curator in the age of
network systems, Brooklyn, N.Y. : Autonomedia, 2006.
KWON, Miwon, One Place after Another: Site Specificity and
Locational Identity. MIT Press 2004.
MARINCOLA, Paula. What Makes a Great Exhibition?, Reaktion,
MICCHELLI, Thomas. On Curating: Interviews with Ten International
Curators, Distributed Art Publishers; 2010.
OBRIST, Hans-Ulrich, Everything you always wanted to know about
curating but were afraid to ask /Sternberg Press, 2011.
OBRIST, Hans-Ulrich, A brief history of curating, Published:Zurich :
JRP / Ringier ; Dijon : Les Presses du réel, 2008.
O'DOHERTY, Brian, Inside the white cube : the ideology of the gallery
space, Published:Santa Monica : Lapis Press, 1986.
O¿NEIL, Paul and Doherty, Clare (eds). Locating the Producers ¿
Durtional Approaches to Public Art, Valiz Antennae 2009.
O¿NEIL, Paul, The Culture of Curating and the Curating of Cultures.
MIT Press, 2012.
STEEDS, Lucy Ed, Exhibition, Whitechapel Gallery Documents of
Contemporary Art, Whitechapel Gallery 2014.
WADE, Gavin, Curating in the 21st Century, Wolverhampton, 2000.
Greenberg, Reesa. Thinking about Exhibitions. Routledge,
WILSON, Mick, Curating and the Educational Turn, Open
Editions/De Appel Arts Centre, 2010.
ZEISKE, Claudia and Sacramento, Nuno. ARTocracy, Jovis, 2011.
Kouris and Rand. Cautionary Tales: Critical Curating, Apexart,
|Graduate Attributes and Skills
||Knowledge that covers many of the main areas of contemporary curating and exhibition practice, including their features, boundaries, terminology and conventions.
A critical, detailed and often leading knowledge and understanding at the forefront of contemporary curating and exhibition practice.
Knowledge and understanding that is generated through personal research or equivalent work that makes a significant contribution to the development of the contemporary exhibition practice and curating.
The ability to apply knowledge, skills and understanding in applying a range of standard and specialised research and/or equivalent instruments and techniques of enquiry.
The ability to apply knowledge, skills and understanding in using a significant range of the principal professional skills, techniques, practices and/or materials associated with contemporary curating and exhibition practice.
The ability to apply knowledge, skills and understanding in using and enhancing a range of complex skills, techniques, practices and/or materials that are at the forefront of contemporary curating and exhibition practice.
The ability to apply critical analysis, evaluation and synthesis to forefront issues, or issues that are informed by forefront developments in contemporary curating and exhibition practice.
The ability to critically review, consolidate and extend knowledge, skills, practices and thinking in contemporary curating and exhibition practice.
|Additional Class Delivery Information
|Keywords||Studio Pathway: Curating,Installation,Exhibiting,Museology,Taxonomy,Cultural Georgraphy
|Course organiser||Mr John Beagles
Tel: (0131 6)51 5909
|Course secretary||Miss Jennifer Watson
Tel: (0131 6)51 5743