This module introduces students to the history and current practice of art curating. Through a combination of themed seminars, visits, and case studies, we will encounter and debate salient issues in the history of exhibition-making. Drawing on curators' first-hand experience and expertise, we will also begin exploring how museums, galleries, archives and the individuals who work in them have influenced the art world at large and how they continue to shape the public's experiences.
Module will run
Semester 1 2023-24
By the end of the module, students will be familiar with a range of case studies and recent scholarship concerning art curation in a global context. They will have a deepening understanding of how objects of various kinds have been (and can be) assembled and displayed, and of the various choices facing curators in different institutional contexts.
Module learning outcomes
By the end of the module, students should have acquired:
Familiarity with a range of case studies and secondary texts concerning art curation
A firm grasp of a variety of curatorial roles within and outside institutions
Understanding of how art objects of varying kinds have been assembled and displayed in the past, in comparison with current practices in different types of institutions
The ability to analyse and evaluate different methodological approaches to the collection and display of art objects
% of module mark
Special assessment rules
% of module mark
You will receive feedback on assessed work within the timeframes set out by the University - please check the Guide to Assessment, Standards, Marking and Feedback for more information.
The purpose of feedback is to help you to improve your future work. If you do not understand your feedback or want to talk about your ideas further, you are warmly encouraged to meet your Supervisor during their Office Hours.
Butt, Zoe. “Infrastructural Activism: Alternative Spaces and Curatorial Networks.” In Talking Contemporary Curating, edited by Terry Smith, 300-318. New York: Independent Curators International, 2015.
Dekker, Anette, and Gaia Tedone. “Networked Co-Curation: An Exploration of the Socio-Technical Specificities of Online Curation.” Arts (Basel) 8, no. 3, (2019): 86.
Heyam, Kit, and James Daybell. Gendering the Museum: A Toolkit. Forthcoming.
Ippolito, Jon. “Ten Myths of Internet Art.” Leonardo (Oxford) 35, no. 5 (2002): 485–98.
Kompatsiaris, Panos. "Curating Resistances: Ambivalences and Potentials of Contemporary Art Biennials." Communication, Culture & Critique 7, no. 1 (Feb 2014): 76-91.
Krysa, Joasia. “Curating Immateriality: the Work of the Curator in the Age of Network Systems.” In Data Browser 03: Curating Immateriality, edited by Joasia Krysa, 7-25. Brooklyn, NY: Autonomedia, 2006.
Marchart, Oliver. “The Globalization of Art and the ‘Biennials of Resistance: A History of the Biennials From the Periphery.” World Art 4, no. 2 (2014): 263-76.
Meijers, Debora J. “The Museum and the ‘Ahistorical’ Exhibition.” In Thinking About Exhibitions, edited by Reesa Greenberg, Bruce W. Ferguson, and Sandy Nairne, 7-18. New York: Routledge, 1996.
Middleton, Margaret. “Queer Possibility”. Journal of Museum Education 45, no. 4 (2020): 426-436.
O’Neill, Paul. “Curating Beyond the Canon.” In Curating Subjects, edited by Paul O’Neill, 109-122. London: Open Editions, 2011.
O’Neill, Paul. “The Curatorial Turn: From Practice to Discourse.” In Issues in Curating Contemporary Art and Performance, edited by Judith Rugg and Michèle Sedgwick, 13-28. Bristol: Intellect Books, 2007.
O’Neill, Paul. The Culture of Curating and The Curating of Culture(s). Cambridge: MIT Press, 2012.
Richter, Dorothee. “A Brief Outline of the History of Exhibition Making.” OnCurating.Org, no. 6, (2010): 28-37.
Simon, Sheikh. “Constitutive Effects: The Techniques of the Curator.” In Curating Subjects, edited by Paul O’Neill, 174-185. London: Open Editions, 2011.