Curating Art

SALC60882 Curating Art 30 Semester 2 Postgraduate Taught Level 6 Andrew Hardman Unit coordinator Art History and Cultural Practices 1 FHEQ level (Framework for Higher Education Qualifications) ' Masters/Integrated Masters P4 ' European Credit Transfer & Accumulation System Rating : 15.0 This module is designed to equip you with a range of critical, theoretical and practical approaches to curating art. During the course, we examine the role, work and skills of the curator in museums and galleries, within historical, critical and professional contexts.   This module is designed to equip you with a range of critical, theoretical and practical approaches to curating art. During the course, we examine the role, work and skills of the curator in museums and galleries, within historical, critical and professional contexts.   The course is devised to develop your knowledge and understanding of: <ul> <li>The theory and practice of art curating in diverse institutional and professional settings </li> <li>The cultural, practical and ethical issues relating to the acquisition, interpretation and display of art </li> <li>How knowledge and cultural authority is produced within the art museum, and how this has, in turn, been challenged by artists, critics and curators themselves </li></ul> <ul> <li>Critical understanding of the theory and practice of curating in museums and galleries </li> <li>Knowledge of the institutional and professional contexts within which curators work </li> <li>A critical understanding of the history and practice of art museum curatorship, including key debates relating to ethics, access and authority </li> <li>Knowledge of key processes in art collecting and curatorship </li> <li>Understanding of the practice of curating in its historical contexts and its ‘professionalisation’ as a historical process </li> <li style="margin-right:-41px; margin-bottom:8px">Further experience in researching and writing (both for an academic and a general reader), team-based work and presentation skills</li></ul> Undertake self-directed learning and skills acquisition - Conduct independent, critical fieldwork - Develop appropriate methodological and analytical skills - Apply skills and ideas learned in one institutional context to another, while remaining aware of the complexity of the issuesFieldwork is subject to government guidelines. -Initiate practical and creative solutions to specific criteria. - Communicate complex research findings through clear written and verbal articulation, supported by appropriate technological tools - Retrieve, select and critically evaluate information from a variety of sources, including libraries, archives, and the Internet -Communicate information and ideas effectively in a professional, as well as an academic, environment. - Critically evaluate personal performance through monitoring and analytical reflection. - Demonstrate independent learning ability suitable for continuing study and professional development. Other - Gain professional insight into curating and related roles - Articulate clearly key debates related to curating art - Presentation skills - Manage time efficiently - Generate ideas and think laterally - Map career directions and trajectories Weekly one-hour lectures and two-hour seminars with directed learning and presentations to be prepared from week to week, including presentations by guest lectures and site visits. Students will be directed to conduct fieldwork in preparation for the class in specific weeks. Teaching and Learning Methods include:<ul><li>Lectures and seminars</li><li>Individual and group fieldwork</li><li>Reading, discussion</li><li>Discussion with museum professionals</li><li>Individual research</li><li>Practical workshops</li></ul> The course will have a Canvas site with all elements of the minimum specification including:  1. Aims, Objectives, Timetable and Mode of Assessment  2. Course Materials  3. Reading lists  4. Guidance on assessment  0 Other 100% <figure class="table"><table><tbody><tr><td>Assessment task</td><td>Formative or Summative</td><td>Length</td><td>Weighting within unit (if relevant)</td></tr><tr><td>Essay proposal</td><td>Formative</td><td>500 words</td><td>0%</td></tr><tr><td>Essay</td><td>Summative</td><td>3000 words</td><td>70%</td></tr><tr><td>Exhibition project presentation and portfolio</td><td>Summative</td><td>1500 words</td><td>30%</td></tr></tbody></table></figure> <figure class="table"><table class="Table" style="border-collapse:collapse;border:1.0pt solid windowtext;margin-left:7px;width:496.15pt;" width="0"><tbody><tr><td style="border:1.0pt solid windowtext;padding:0cm 5.4pt;vertical-align:top;width:241.0pt;" width="321">Essay proposal surgery and written comments</td><td style="border-bottom-style:solid;border-color:windowtext;border-left-style:none;border-right-style:solid;border-top-style:solid;border-width:1.0pt;padding:0cm 5.4pt;vertical-align:top;width:9.0cm;" width="340">Formative</td></tr><tr><td style="border-bottom-style:solid;border-color:windowtext;border-left-style:solid;border-right-style:solid;border-top-style:none;border-width:1.0pt;padding:0cm 5.4pt;vertical-align:top;width:241.0pt;" width="321">Academic advisor meeting</td><td style="border-bottom:1.0pt solid windowtext;border-left-style:none;border-right:1.0pt solid windowtext;border-top-style:none;padding:0cm 5.4pt;vertical-align:top;width:9.0cm;" width="340">Formative</td></tr><tr><td style="border-bottom-style:solid;border-color:windowtext;border-left-style:solid;border-right-style:solid;border-top-style:none;border-width:1.0pt;padding:0cm 5.4pt;vertical-align:top;width:241.0pt;" width="321">Turnitin</td><td style="border-bottom:1.0pt solid windowtext;border-left-style:none;border-right:1.0pt solid windowtext;border-top-style:none;padding:0cm 5.4pt;vertical-align:top;width:9.0cm;" width="340">Summative</td></tr></tbody></table></figure> N Altshuler, Bruce, The Avant-garde in Exhibition: New Art in the 20th Century, Abrams,1994. Altshuler, Bruce, Salon to Biennial – Exhibitions That Made Art History Volume 1: 1863-1959, Phaidon, 2008. Altshuler, Bruce, Biennials and Beyond: Exhibitions that Made Art History Volume 2:1962-2002, Phaidon, 2013. Davida, Dena et al. Curating Live Arts : Critical Perspectives, Essays, and Conversations  on Theory and Practice. Ed. Dena Davida et al. New York: Berghahn Books, 2019. D'Souza, Aruna, Whitewalling: Art, Race & Protest in 3 Acts (New York: Badlands Unlimited, 2018). England, David, Thecla Schiphorst, and Nick Bryan-Kinns. Curating the Digital : Space for Art and Interaction. Ed. David England, Thecla Schiphorst, and Nick Bryan-Kinns. Switzerland: Springer, 2016. Fowle, Kate 'Who cares? Understanding the role of the curator today’ in Rand, S., & Kouris, H. (eds) Cautionary tales: Critical curating, apexart, 2010 pp.10-19. French, Jade. Inclusive Curating in Contemporary Art : a Practical Guide. New edition. Leeds: Arc Humanities Press, 2020   Fritsch, Juliette (ed.), Museum Gallery Interpretation and Material Culture, Routledge,2011. Haskell, Francis The ephemeral museum: old master paintings and the rise of the artexhibition, Yale University Press, 2000. Klonk, Charlotte, Spaces of Experience, Yale University Press, 2009. Marstine, Janet, and Oscar Ho. Curating Art. Ed. Janet Marstine and Oscar Ho. Abingdon, Oxon ;: Routledge, 2022. McClellan, Andrew, The Art Museum from Boullée to Bilbao, University of California Press,2007. Martinon, Jean-Paul, The Curatorial: a Philosophy of Curating, BloomsburyAcademic, 2013. McClellan, Andrew, Inventing the Louvre: Art, Politics and the Origins of the ModernMuseum in Eighteenth-century Paris, CUP, 1999.</sp Lectures 7 Seminars 30 0 263