Week 1: 3 August 2022
An Introduction: Ways of seeing, Ways of writing
Dr Yvonne Low

This seminar introduces the unit, assessments and learning outcomes. We will explore art writing as a critical ‘curator’s’ tool and to consider more expansively the function of writing in exhibitions and the wider museum industry. What does it mean to write purposefully, ‘plainly’ or creatively in a gallery and museum? How does art writing change the way we engage with and see art? 

Readings:
. Surface, Mary Hall and Ryan, Nathalie. ‘Developing close looking, creativity, and community through writing and art’, Journal of Museum Education 43, no. 4 (2018): 356-364.
. Sabeti, Shari. ‘Writing creatively in a museum: tracing lines through persons, art objects and texts’, Literacy 50, no. 3 (2016): 141-148

Week 2: 10 August 2022
Writing about Art: Engaging with Audience 
Dr Amelia Kelly 

There are many different audiences that visual art curators and programmers must engage with through written text. This ranges from not just external visitors of different demographics, but written communication with colleagues and industry. It is important to know who your audience is, be clear on what your objective is in communicating with them, including what you want to say and what you want them to know. This week we look at effective modes of different audience engagement, including some practical examples.

Please see Canvas for readings and materials.

Week 3: 17 August 2022
Writing for the Museum
Dr Jennifer Blunden  

This session will look at museums and galleries as communication environments. It will explore what makes them unique, challenging and exciting contexts for both audiences and authors, how text interacts with other modalities in play, and how we can draw on these qualities to develop and critique written texts for different contexts and audiences. 

Readings: 

. Hooper-Greenhill, Eilean. ‘Changing Values in the Art Museum: Rethinking Communication and Learning’, International Journal of Heritage Studies 6, no 1 (2000): 9–31
. Hoskin, Dawn. ‘Creating the New Europe 1600–1815 Galleries: Writing Labels and Gallery Text’, V&A Museum blog. View at https://www.vam.ac.uk/blog/creating-new-europe-1600-1800-galleries/labels-gallery-text?gclid=EAIaIQobChMIxKfrn7ib5wIVRpWPCh3jWQpNEAAYASAAEgLaMfD_BwE

Week 4: 24 August 2022
Writing for the Exhibition: Constructing a narrative
Dr Amelia Kelly 

We will look at how a specific exhibition narrative with clear conceptual positioning, can be best communicated through the different forms of writing needed in the context of an exhibition display. Using a small to medium size visual art exhibition with focus on contemporary feminist art practice as an example, the lecture will explore: What are the different types of writing outputs required and how must they distinctly and collectively operate to tell a story? What approaches might one take to ensure effective and inclusive communication? 

Please see Canvas for readings and materials.

Week 5: 31 August 2022
Writing as Research Method
Dr Alex Burchmore

This lecture will explore some useful strategies for thinking about writing not only for and about research, but as research. We will focus on the extent to which writing can serve a creative and reflexive as well as communicative purpose. We will also consider multiple modes of writing that researchers can develop, and discuss the distinction between annotated bibliographies and literature reviews as two of the most visible products of writing as research method.

Readings: 

. Christoph Hoffmann & Barbara Wittmann, ‘Knowledge in the Making: Drawing and Writing as Research Techniques,’ Science in Context 26, no. 2 (2013): 203-13.
. John Berger, ‘Life Drawing,’ in Berger on Drawing, edited by Jim Savage (Aghabullogue: Occasional Press, 2007), 1-9. 

Week 6: 7 September 2022 
Art Gallery of New South Wales: Curating and Writing for the Asian Galleries
Dr Yvonne Low

This seminar will be conducted on-site at the Art Gallery of New South Wales (AGNSW). Dr Matt Cox will introduce the Asian collection and using the Lower Asian Gallery as an example demonstrate the curatorial processes that typically take place. Students will gain a good understanding of curatorial and collection policies at State galleries, and will have the opportunity to work closely with a set collection and collaboratively-designed exhibition.  

Readings: 

. Sambrani, Chaitanya. ‘New lanterns for old: how far can Australian engagement with Asia transcend old shibboleths? How new are the perspectives offered by the ‘New Asian Galleries’ at the Art Gallery of New South Wales’, Meanjin 63, no. 2 (2004): 65. 
. Ajioka, Chiaki. ‘Representation of Japanese Art at the Art Gallery of New South Wales’ in Educating in the Arts The Asian Experience: Twenty-four Essays, ed. Lindy Joubert (Dordrecht: Springer Netherlands, 2008) 103-120.  

Week 7: 14 September 2022
Workshop: Image Research and Acquisition writing 
Dr Yvonne Low

Building on the knowledge and skills introduced at the Art Gallery of New South Wales in Week 6, students will be guided through the processes of developing a mock acquisition proposal for AGNSW. Students will research on specific artworks, keeping in mind the curatorial and collection policies discussed in Week 6. More details will be provided on Canvas.

Week 8: 21 September 2022
The Art of ‘Guided Looking’  
Dr Yvonne Low

For the first half of this seminar we will explore strategies of social inclusion in a museum context so as to offer a rich and rewarding experience to all visitors. What does it mean to engage audience meaningfully in a primarily visuo-centric environment? We will apply the principles raised in the lecture at the Art Gallery of New South Wales, where we will visit the Upper Asian Gallery and design an Audio Guide for the next exhibition.     

Prescribed Reading: 

. Hutchinson, Rachel and Eardely, Alison. ‘Inclusive museum audio guides: ‘guided looking’ through audio description enhances memorability of artworks for sighted audiences’, Museum management and curatorship 36, no. 4 (2021): 427-446. 
. Hadley Bree, and Rieger, Janice. ‘Co-designing choice: objectivity, aesthetics and agency in audio-description’, Museum management and curatorship 36, no. 1 (2021): 189-203. 

MID SEMESTER BREAK 26 Sep -30 Sep 2022 

Week 9: 5 October 2022
The Art of Asking: Interviews as Research
Dr Amelia Kelly 

This week we discuss methods and approaches to talking to living artists and industry personnel, as part of researching for a written piece or recorded interview. We will go through suggested steps to take to make the most of your interview. We will explore methods of interviewing, ethical considerations, and reflect on the role and responsibility of interpreting personal, subjective opinions and perspectives in the context of objective information seeking.

Please see Canvas for readings and materials.

Week 10: 12 October 2022
Writing for Publication
Dr Alex Burchmore

This lecture will introduce the primary avenues for publication within the GLAM sector, from Non-Traditional Research Outputs to a monograph with a university press. We will reflect on how each of these publication types are defined and valued, with a specific focus on the role of peer review and the process of preparing a manuscript for publication as a scholarly book.

Readings: 

. M. Lynne Cooper, ‘Problems, Pitfalls, and Promise in the Peer-Review Process: Commentary on Trafimow & Rice,’ Perspectives on Psychological Science 4, no. 1 (January 2009): 84-90.
. Barbara Bolt, ‘The Magic is in Handling,’ in Practice as Research: Approaches to Creative Arts Enquiry, edited by Estelle Barrett and Barbara Bolt (London: I.B. Tauris, 2010), 27-34.

Week 11: 19 October 2022
The art writer’s toolkit: In the Museum and beyond
Dr Jennifer Blunden 

This session will take a close-up look at how writing makes meaning. It will explore some key concepts about language and show how they can be used as powerful tools for creating and critiquing different types of texts, both within museum and gallery contexts and beyond – powerful in the sense of ‘sharpening our eyes’ so we can see more clearly the implications in meaning of choices made in language, and use those insights to create, shape, deconstruct and talk about written texts with greater precision and delicacy.

Readings:

. Sword, Helen. ‘Verbal Verve’ and ‘Noun Density’, The Writer’s Diet, chapters 1& 2, Auckland: Auckland University Press (2015), pp 5–28 
. Williams, Gilda. ‘Practical “How-To”s’, How to Write about Contemporary Art, chapter 4, New York: Thames & Hudson (2015), pp 68–105 

Week 12: 26 October 2022
Finding the Critical Voice
Dr Amelia Kelly 

How does a critical perspective help provide ways to view, appreciate, understand and enjoy art and culture? This week, the role of the critical voice will be explored particularly in relation to the visual arts. Art criticism is a process of responding to, interpreting meaning, and making critical judgments about specific works of art or objects. Looking to the core steps of describing, analysing, interpreting and evaluating, we address the balance needed to provide a comprehensive analysis through these points of consideration.

Please see Canvas for readings and materials. 

Week 13: 1 November 2022
A Coda: Developing your professional writing portfolio 
Dr Yvonne Low

This seminar will review key concepts, writing and research skills. From developing an area of specialism, to writing flexibly and expansively, we will explore and discuss practical tips for developing your professional writing portfolio. How might we keep abreast of latest research and writing opportunities? Where do we go from here?