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ART 496 A: Art Internship

Summer Term: 
Full-term
Meeting Time: 
MW 2:20pm - 4:00pm
Location: 
ART 132
SLN: 
10158
Instructor:
Emily Zimmerman
Emily Zimmerman

Syllabus Description:

ART 496: The Practice and Theory of Curating Contemporary Art

Instructor: Emily Zimmerman, zimmee3@uw.edu

This class examines the production of exhibitions from both theoretical and practical standpoints. We will look at exhibitions as a vehicle for the reception of art, philosophies of aesthetic experience, knowledge production, and cultural politics.  In order to do so, we will study curatorial methodologies, historical exhibition formats, key watershed exhibitions that changed the dialog on the practice, as well as the practical skills associated with realizing an exhibition. Special attention will be paid to artist-curated exhibitions, which make up many of the most important experimental exhibitions over the last 50 years. During the class you will participate in the production of the exhibition, “James Coupe: Exercises in Passivity.”

 

Gallery Sitting

In addition to class time, each week you’ll gallery sit for 2.5 hours at the Jacob Lawrence Gallery. The schedule for gallery sitting hours will be determined on the first day of class and will constitute 30% of your grade.

 

Final Project 

For your final project, you will have to create an idea for an exhibition with 3 – 5 artists. Your proposal should consist of three parts:

  1. an exhibition narrative (300-500 words) a list of works, detailing ‘tombstone’ information (artists, title, date, materials, dimensions),
  2. a 100 – 200 word description and an image for each piece
  3. a biography for each artist (100 – 300 words)

 

Grading

Participation: 30%

Gallery sitting: 30%

Engagement (contributions to class discussion, proactive outreach): 20%

Final project: 20%

 

 

Class #1: Hello

Review of syllabus, tour of the Jacob Lawrence Gallery & review of the gallery’s history and mission, and set gallery sitting schedule.

 

Class #2: Setting the Stage

Review the basics of gallery preparation and hanging artwork.

Required Readings:

Peter Smithson, “Installing Exhibitions: A Practical Guide” pgs. 1 – 75.

 

Class #3: Setting the Stage, Part II

Art Handling 101

Required Reading:

Peter Smithson, “Installing Exhibitions: A Practical Guide” pgs. 76-140

 

Class #4: Thinking About Space

The origin of museums & the historic conventions of display from the Cabinet of Curiosities to the White Cube.

Required Readings:

Brian O’Doherty, Inside the White Cube: The Ideology of the Gallery Space (Berkeley: University of California Press, 1986).

Svetlana Alpers, “The Museum as a Way of Seeing”

Henri Focillion, “Form in the Realm of Space” in The Life of Forms in Art, p.65-66. 

 

Class #5: Curatorial Research

Readings:

Adrian George, “Introduction” “Starting Off” and “From Idea to Reality” in The Curator’s Handbook, p. 2-66.

 

Class #6: Exhibition Design

Readings:

Mary Anne Staniszewski, The Power of Display: A History of Exhibition Installations at the Museum of Modern Art (Cambridge: MIT Press, 1998).

Adrian George, “Putting a Show Together” in The Curator’s Handbook, p. 152-182.

 

Class #7: Contracts, Loan Forms, Budgets, and Condition Reports

Reading:

Adrian George, “Contracts, Negotiations, Obligations, and Evaluations” p. 110-119 and “Putting a Show Together” in The Curator’s Handbook, p. 183-206.

 

Class #8: Notable Exhibitions 1960 - present

Primary Structures (The Jewish Museum, 1966) curated by Kynaston McShine.

Cybernetic Serendipity (ICA London, 1969) curated by Jasia Reichardt.

Live in Your Head: When Attitudes Become Form (Kunsthalle Bern, 1969) curated by Harald Szeeman.

Information (Museum of Modern Art, 1970) curated by Kynaston McShine.

Les Immaterieux (1985, Centre Pompidou) curated by French philosopher Jean-François Lyotard and Thierry Chaput.

Les Magicienne de la Terre (Centre Georges Pompidou, 1989) curated by Jean-Hubert Martin.

1993 Whitney Biennial (Whitney Museum of American Art, 1993) curated by Elizabeth Sussman, Thelma Golden, Lisa Phillips, and John G. Hanhardt.

inSITE97 (Various sites in Tijuana, Mexico and San Diego, California, 1997) curated by Jessica Bradley, Olivier Debroise, Ivo Mesquita, Sally Yard.

Documenta 11 (City of Kassel, 2002) curated by Okwei Enwezor.

WACK! Art and the Feminist Revolution (MOCA, 2007) curated by Connie Butler.

 

Required Reading:

Harald Szeeman, Live in Your Head: When Attitudes Become Form (Kunsthalle Bern, 1969).

 

Class #9: DEINSTALL DAY

Deinstallation for Angélica Maria Millán Lozano + Camilo Godoy: Lugar del Trabajo

Come to class with painting clothes

 

Class #10: INSTALL DAY

Installation for James Coupe: Exercises in Passivity

Come to class with painting clothes

 

Class #11: INSTALL DAY

Installation for James Coupe: Exercises in Passivity

Come to class with painting clothes

 

 

 

 

Class #12: Artist Curated Exhibitions

Required Reading:

Jean-Hubert Martin, “The ‘Musee Sentimental’ of Daniel Spoerri” in Visual Display: Culture Beyond Appearances

Elena Filipovic, “When Exhibitions Become Form: On the History of the Artist as Curator” Mousse, no. 41.

 

Optional reading:

Lynne Cooke, “In Lieu of Higher Ground” in What Makes a Great Exhibition? p.32-43.

 

Class #13:  Printed Materials & Exhibition Prosthetics

Required Reading:

Gilda Williams, “Introduction” and “Chapter 1” in How to Write about Contemporary Art p. 9 – 41.

Joseph Grigley, Exhibition Prosthetics (Bedford Press, 2010) p. 1 - 64.

“Excellence in Exhibition Label Writing Competition 2017” American Assosication of Museums https://www.aam-us.org/wp-content/uploads/2017/11/2017-2.pdf

 

Optional reading:

Aram Moshayedi, “The Narrative Conceit” in Stories of Almost Everyone, p. 14-23.

 

Class #14: Education & Public Programs

Required Reading:

Liam Gillick “Educational Turns:  Part One” in Paul O’Neill & Mick Wilson, Curating and the Educational Turn

Luis Camnitzer, Pablo Helguera, and Betty Martin, eds. Art and Education (Portland: PSU Art and Social Practice, 2014).

Mark Allan, “Machine Project Guide to Planning and Curating Events”

 

Optional Reading:

Hito Steyerl, “The Terror of Total Dasein” http://dismagazine.com/discussion/78352/the-terror-of-total-dasein-hito-steyerl/

 

Class #15: Curatorial Ethics

Required Reading

Maura Reilly “Foreword,” “Chapter 1,” “Chapter 5: A Call to Arms,” in Curatorial Activism (London: Thames & Hudson, 2018).

Helen Molesworth, “How to Install Art Like a Feminist”

 

Class #16:  Seattle Art Museum visit + discussion with Curators

 

Class #17: Archiving & Speculations on the Future

Required reading:

James McAnally, “The Work of the Institution in the Age of Professionalization” http://temporaryartreview.com/the-work-of-the-institution-in-an-age-of-professionalization/

 

Pepe Karmel, “The Circus Museum” in Reshuffle: Notions of an Itinerant Museum (Annandale-on-Hudson: Bard College, 2006).

Optional reading:

Rita McBride, Futureways (Vancouver: Arsenal Pulp Press, 2005) 

 

Class #18: Goodbye

Final presentations

Final reading journal due. Students prepare a 15-minute presentation on their exhibition to present to the class.

 

Catalog Description: 
Internships in conjunction with Art faculty and partners in the large visual arts community. Credit/no-credit only.
Credits: 
5.0
Status: 
Active
Last updated: 
March 27, 2019 - 2:00am

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