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Unit outline_

ARHT6960: Contemporary Curating

Semester 1, 2023 [Normal day] - Remote

This unit of study focuses on contemporary curatorial practices and explores emerging trends and new directions in curating. It considers the expanding role of the curator, moving from traditional contexts in the art gallery and museum, to contemporary art spaces, artist-run initiatives, public sites, and into globalised and virtual settings. Curating is its own discipline. It has its own histories and is constantly evolving new modes of exhibition-making. The Contemporary Curator is inventing new ways for art to involve itself in society and we investigate the curatorial practices that meet the complexities, complacencies, inequalities, and possibilities of the contemporary moment.

Unit details and rules

Academic unit Art History
Credit points 6
Prerequisites
? 
None
Corequisites
? 
None
Prohibitions
? 
CAEL5032
Assumed knowledge
? 

None

Available to study abroad and exchange students

Yes

Teaching staff

Coordinator Yvonne Low, yvonne.low@sydney.edu.au
Lecturer(s) Lilian Cameron, lilian.cameron@sydney.edu.au
Type Description Weight Due Length
Assignment The Curatorial Project
n/a
50% Formal exam period
Due date: 11 Jun 2023 at 23:59
2000 words
Outcomes assessed: LO1 LO2 LO3
Presentation Curatorial Concept Pitch
n/a
10% Week 06
Due date: 28 Mar 2022 at 23:59
1500 words
Outcomes assessed: LO1 LO3
Assignment Curatorial Research Plan
n/a
30% Week 09
Due date: 30 Apr 2023 at 23:59
2000 words
Outcomes assessed: LO1 LO4
Assignment Peer-to-Peer Feedback on Research Plans
Written and oral feedback given to peer(s) assigned.
10% Week 12
Due date: 16 May 2023 at 23:59
500 words
Outcomes assessed: LO1 LO4

Assessment summary

Detailed information for each assessment can be found on Canvas.

Assessment criteria

The University awards common result grades, set out in the Coursework Policy 2014 (Schedule 1).

As a general guide, a High distinction indicates work of an exceptional standard, a Distinction a very high standard, a credit a good standard, and a pass an acceptable standard.

Result name

Mark range

Description

High distinction

85 - 100

 

Distinction

75 - 84

 

Credit

65 - 74

 

Pass

50 - 64

 

Fail

0 - 49

When you don’t meet the learning outcomes of the unit to a satisfactory standard.

 

.

For more information see guide to grades.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

  • Deduction of 5% of the maximum mark for each calendar day after the due date.
  • After ten calendar days late, a mark of zero will be awarded.

Academic integrity

The Current Student website provides information on academic integrity and the resources available to all students. The University expects students and staff to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.

We use similarity detection software to detect potential instances of plagiarism or other forms of academic integrity breach. If such matches indicate evidence of plagiarism or other forms of academic integrity breaches, your teacher is required to report your work for further investigation.

Use of generative artificial intelligence (AI) and automated writing tools

You may only use generative AI and automated writing tools in assessment tasks if you are permitted to by your unit coordinator. If you do use these tools, you must acknowledge this in your work, either in a footnote or an acknowledgement section. The assessment instructions or unit outline will give guidance of the types of tools that are permitted and how the tools should be used.

Your final submitted work must be your own, original work. You must acknowledge any use of generative AI tools that have been used in the assessment, and any material that forms part of your submission must be appropriately referenced. For guidance on how to acknowledge the use of AI, please refer to the AI in Education Canvas site.

The unapproved use of these tools or unacknowledged use will be considered a breach of the Academic Integrity Policy and penalties may apply.

Studiosity is permitted unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission as detailed on the Learning Hub’s Canvas page.

Outside assessment tasks, generative AI tools may be used to support your learning. The AI in Education Canvas site contains a number of productive ways that students are using AI to improve their learning.

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a simple extension.  The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can’t complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students, AI in Education includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

WK Topic Learning activity Learning outcomes
Week 01 CONTEMPORARY CURATING: Foundational concepts and methodologies Seminar (2 hr)  
Week 02 SPACE AND SPECTATORSHIP: The legacy of the White Cube Seminar (2 hr)  
Week 03 INSTITUTIONAL CRITIQUE: Curating as an expanded field Seminar (2 hr)  
Week 04 Curating Queer pasts, presents and futures Seminar (2 hr)  
Week 05 Curating in response to site and place Seminar (2 hr)  
Week 06 STUDENT RESEARCH PROJECT PLANS: Pitch your idea to the class #1 Seminar (2 hr)  
Week 07 STUDENT RESEARCH PROJECT PLANS: Pitch your idea to the class #2 and Foreshadowing session Seminar (2 hr)  
Week 08 Curating Performance at the AGNSW Seminar (2 hr)  
Week 09 The global and the local in current curatorial practice Seminar (2 hr)  
Week 10 Collaborative practices and Indigenous knowledge Seminar (2 hr)  
Week 11 The Artist as Curator and Curator as Artist Seminar (2 hr)  
Week 12 Digital (R)evolutions: Curating and the digital realm Seminar (2 hr)  
Week 13 Curatorial Project Plan Feedback Session Seminar (2 hr)  

Attendance and class requirements

  • Attendance: According to Faculty Board Resolutions, students in the Faculty of Arts and Social Sciences are expected to attend 90% of their classes. If you attend less than 50% of classes, regardless of the reasons, you may be referred to the Examiner’s Board. The Examiner’s Board will decide whether you should pass or fail the unit of study if your attendance falls below this threshold.

  • Lecture recording: Most lectures (in recording-equipped venues) will be recorded and may be made available to students on the LMS. However, you should not rely on lecture recording to substitute your classroom learning experience.

  • Preparation: Students should commit to spend approximately three hours’ preparation time (reading, studying, homework, essays, etc.) for every hour of scheduled instruction.

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 6 credit point unit, this equates to roughly 120-150 hours of student effort in total.

Required readings


Week 1: February 21 

Contemporary Curating: Foundational Concepts and Methodologies

The first week asks you to consider what contemporary art is, who might make contemporary art and what contemporary curating looks like. 

Please consider the following questions ahead of our tutorial as you complete the required reading and engage with the additional resources: 

What does the 'contemporary' in contemporary art mean? What does the 'art' in contemporary art mean? What is it about the present - the here-and-now - that so interests us (from Groys)? How is the current contemporary different from the past? How is the contemporary different from the modern? What makes a curatorial practice contemporary, in your opinion?

Required Reading 

Boris Groys, ‘Comrades of Time’, e-flux Journal, Issue 11, December 2009.

https://www.e-flux.com/journal/11/61345/comrades-of-time/                                                        

Maura Reilly. ‘What Is Curatorial Activism’, Curatorial Activism: Towards an Ethics of Curating, Thames & Hudson, 2018, pp17-33.

Additional Reading and Resources

  • David Balzer interview (podcast) with London Review of Books: https://player.fm/series/london-review-bookshop-podcasts-1520922/curationism-david-balzer-and-zoe-pilgerLinks to an external site.
  • Zdenka Badovinac, Contemporaneity as Points of Connection https://www.e-flux.com/journal/11/61343/contemporaneity-as-points-of-connection/

Note: There are two special issues of e-flux entitled "What is Contemporary Art?". While looking at them you might want to look at other articles in e-flux to get an idea of the breadth of the discussions.

Further reading

  • Julieta Aranda, Brian Kuan Wood, and Anton Vidokle. What Is Contemporary Art? Berlin: Sternberg Press, 2010.
  • Zdenka Badovinac, 'Contemporaneity as Points of Connection' e-flux Journal #11 December 2009
  • Jörg Heiser. All of a Sudden: Things That Matter in Contemporary Art. New York, NY: Sternberg Press, 2008.
  • Kate Fowle. ‘Who Cares? Understanding the Role of the Curator Today’, Cautionary Tales: Critical Curating, edited by Steven Rand and Heather Kouris, apexart, 2007, pp26-35. 
  • Anthony Huberman. ‘The Artist’s Institute: Take care’, in Mai Abu El Dahab, Binna Choi and Emily Pethick (eds), Circular Facts, Sternberg Press, Berlin, 2011.
  • Zoya Kocur and Simon Leung. Theory in Contemporary Art since 1985. Malden, MA: Blackwell Pub., 2005.
  • Gillian Perry, Paul Wood, and Open University. Themes in Contemporary Art, Open University Art of the Twentieth Century Series. New Haven, Conn.; London: Yale University Press, 2004.
  • Jean Robertson and Craig Mcdaniel. Themes of Contemporary Art: Visual Art after 1980. 2nd ed. New York: Oxford University Press, 2010.
  • Margriet Schavemaker, Mischa Rakier, and Jennifer Allen. Right About Now: Art & Theory since the 1990s. Amsterdam: Valiz, 2007.
  • Terry Smith. What Is Contemporary Art? Chicago; London: The University of Chicago Press, 2009 and Art to Come: Histories of Contemporary Art, Durham, North Carolina: Duke University Press, 2019.

 

Week 2: February 28

Space and Spectatorship: The legacy of the White Cube

This week we explore the concept of the white cube, situating this concept in historical context and interrogating its neutrality as well as ubiquity. Please bear the following questions in mind as you complete the readings and refer to your own experiences of museums and galleries. What senses are activated in a white cube gallery space? What happens to a work of art in the white cube? What conceptions of culture, time and history are fostered there? This week also examines counter-movements, counter-histories and counter-aesthetics to the white cube gallery space.

Required Reading
Brian O’Doherty. ‘The Eye and the Spectator’, Inside the White Cube: The Ideology of the Gallery Space, edited by Brian O'Doherty, Expanded edition, University of California Press, 1999, pp35-64.       

Elena Filipovic. ‘The Global White Cube’, The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe, edited by Barbara Vanderlinden and Elena Filipovic, MIT Press, 2005, pp63-84. 

Also published online in Oncurating, Issue 22, April 2014. https://www.on-curating.org/issue-22-43/the-global-white-cube.html#.Y9czZuxByWA

Further Reading:    

  • Tony Bennett. ‘The Exhibitionary Complex’, New Formations, no. 4, Spring 1988, pp73-102. 
  • Walter Grasskamp. ‘The White Wall - On the Prehistory of the ‘White Cube’’, On Curating, Curating Critique 9, no. 11 (2011), pp78-90.
  • Michel Foucault. ‘Des Espaces Autres’ (Of Other Spaces: Utopias and Heterotopias), Architecture /Mouvement/ Continuité, no. 5, October 1984, pp46-49; translated by Jay Miskowiec in Diacritics 16, no. 1 (Spring, 1986), pp22–27. 
  • Thomas McEvilley. ‘Introduction’, Inside the White Cube: The Ideology of the Gallery Space, edited by Brian O’Doherty, Expanded edition, University of California Press, 1999, 7-12. 

Week 3: March 7
Institutional Critique: Curating as an expanded field

This week engages with the pasts and present of Institutional Critique, a movement that challenges art world structures and norms. We will examine key artists and exhibitions associated with Institutional Critique and ask the following questions in our lecture and tutorials: what is the focus of Institutional Critique? What information about contemporary art and the art world is revealed by these projects? What are its implications for the work and role of the curator?

Required Reading                                                                                           

Alexander Alberro. ‘Institutions, critique, and institutional critique’, Institutional Critique: an Anthology of Artists’ Writings, edited by Alexander Alberro and Blake Stimson, MIT Press, 2009, pp2-19. 


Andrea Fraser. ‘From the Critique of Institutions to an Institution of Critique’, Artforum International, vol. 44, no. 1, September 2005, pp278–283.      

Further Reading       

  • Benjamin Buchloh. ‘Allegorical Procedures: Appropriation and Montage in Contemporary Art’, Artforum International, Volume 2, Issue 1, 1982, pp43-56.
  • Daniel Buren. ‘The Function of the MUseu, Institutional Critique: an Anthology of Artists’ Writings, edited by Alexander Alberro and Blake Stimson, MIT Press, 2009, pp102-106
  • Verónica Tello. ‘What is Contemporary about Institutional Critique? Or, Instituting the Contemporary: A Study of The Silent University’, Third Text, Volume 31, Issue 6, 2020, pp635-648                                                                                                                                                                                                                                                                                  

Week 4: March 14

Curating Queer pasts, presents and futures

Pre-recorded lecture with Lilian plus Q&A with Pip Wallis, Curator of International Art, NGV

Field trip to Braving Time at the National Art School Galleries

Queer curatorial practices, experiences and histories are the focus of our guest lecture and site visit this week. The exhibition QUEER at the National Gallery of Victoria in 2022 provides a case study of a queer approach to collections curating, while our site visit and recommended readings unpack the implications of a queer approach beyond major museums. How might queer approaches to research and display inform a curatorial project or exhibition?

 

Required Reading

Craig Middleton and Nikki Sullivan. ‘Queering Display’, in Queering the Museum, London: Routledge, 2019, pp43-63

Maura Reilly. ‘Challenging Hetero-centrism and Lesbo-/Homo-phobia: A History of LGBTQ exhibi-tions in the U.S’, Oncurating, Issue 7: Queer Curating, May 2018

 

Further Reading

  • Isabel Hufschmidt. ‘The Queer Institutional, Or How to Inspire Queer Curating’, Oncurating, Issue 7: Queer Curating, May 2018
  • Getsy David, ed. Queer, London: Whitechapel Gallery and Cambridge, Massachusetts: The MIT Press, 2016
  • Andrew Gorman-Murray. ‘So, Where Is Queer? A Critical Geography of Queer Exhibitions in Australia’, Where is queer? London: Routledge, 2008, pp67-80

 

Week 5: March 21
Curating in response to site and place

Guest speaker: Sophie O’Brien, Head of Curatorial and Learning at Bundanon.

Our guest speaker will discuss how site and place inform the artistic program at Bundanon. Continuing connections of the Wodi Wodi and Yuin peoples to the South Coast region and the artistic legacy of the Boyd family are at the core of Bundanon’s approach. The tutorial this week reflects more widely on site-specific art, site-specific curating and responding to place. This is also an opportunity to consider: how and in what way does site and place inform the curatorial project you are pitching? 

 

Required Reading

Judith Rugg. ‘Garden’, Exploring site-specific art: issues of space and internationalism, London: I.B. Tauris, 2010, pp71-90

University of Sydney. ‘New artworks illuminate the University's past and reimagine its future’, University of Sydney website, March 4 2019. https://www.sydney.edu.au/news-opinion/news/2019/03/04/new-artworks-illuminate-the-university-s-past-and-reimagine-its-.html

 

Further Reading

  • Charlotte Gould, ‘Artangel, Producing Art in a Post-Consensus Age’, in Artangel and Financing British Art: Adapting to Social and Economic Change, London: Routledge, 2018, pp37-74
  • Nick Kaye, Site-Specific Art: Performance, Place and Documentation, London: Routledge, 2000
  • Miwon Kwon. One place after another: site-specific art and locational identity, Cambridge, Mass.: MIT Press, 2002
  • James Nisbet. Second Site, Princeton: Princeton University Press, 2021.
  • Judith Rugg. ‘Contingent Spaces’ and ‘Demographic Space’, in Exploring site-specific art: issues of space and internationalism, London: I.B. Tauris, 2010, pp71-90

 

Week 6: March 28  

Summary/ Reflection session +

Student Research Project Plans: Pitch your idea to the class #1

 

Week 7: April 4

Student Research Project Plans: Pitch your idea to the class #2 + Foreshadowing session

Mid-Semester Break: 10-14 April 2023

 Week 8: April 18

Curating Performance at the AGNSW

Site visit to Sydney Modern/North Building at AGNSW, plus floortalk with Lisa Catt, Curator of International Art (format TBC)

The opportunities and challenges of curating performance are the subject of our guest lecture and readings this week. In conversation with Lisa Catt, we will explore a range of case studies from AGNSW and reflect on the presentation of performance in the new building. Our readings consider performance art in a wider range of contexts, museums and otherwise, and reflect on the role of the performance curator.

 

Required Reading 

Véronique Hudon. ‘The Curator’s Work: Stories and Experiences from Tino Sehgal’s Events’, in Dena Davida, Marc Pronovost, Véronique Hudon and Jane Gabriels, ed,. Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice, New York and Oxford: Berghahn Books, 2018, pp263-272

 

Jonah Westerman. ‘Project Overview’, Performance at Tate: Into the space of art, Tate website, accessed January 2023. https://www.tate.org.uk/research/publications/performance-at-tate/project-overview

 

Further Reading

  • Beatrice Von Bismark. ‘Exhibiting Performances: Process and Valorization in When Attitudes Become Forms—Bern 1969 / Venice 2013’, in Dena Davida, Marc Pronovost, Véronique Hudon and Jane Gabriels, ed,. Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice, New York and Oxford: Berghahn Books, 2018, pp29-37
  • Adrian Heathfield and Hugo Glendinning. Art and Performance. New York: Routledge, 2004.
  • Kate Lawrence. ‘Who Makes Site-Specific Dance? The Year of the Artist and the Curatorial Matrix’, in Judith Rugg and Michèle Sedgwick, Issues in Curating Contemporary Art and Performance, Bristol: Intellect, 2007, pp163-173
  • Tate. ‘An Introduction to Performance’, Tateshots, Tate website, September 22 2017, accessed January 2023.      https://www.tate.org.uk/art/art-terms/p/performance-art/introduction-performance-art                                                                                                         

 

Week 9: April 25

The global and the local in current curatorial practice

This week explores global and local dynamics at work in curating contemporary art biennales. Biennales (and triennials, and Documenta) are a vital platform for contemporary art and, by extension, for contemporary curators. We will engage with debate around the biennale model and globalisation, before considering the ways in which curators are engaging with the local in meaningful ways within globalised settings. 

 

Required Reading

Ana E Bilbao, ‘From the Global to the Local (and Back)’, Third Text, Vol. 33, No. 2, 179-194, 2019.

 

Further Reading

  • Elena Filipovic, Marieke van Hal and Solveig Øvstebø, ed., The Biennial Reader, Bergen Kunsthall and Hatje Cantz Verlag, 2010
  • Charles Green and Anthony Gardner, Biennials, triennials, and Documenta: the exhibitions that created contemporary art, Malden, MA: Wiley-Blackwell, 2016
  • Fatoş Üstek, ‘The Impact of Context Specificity in Curating amidst the Forces at Play in a Globalized World of Realms’, in Brad Buckley and John Conomos, eds., A Companion to Curation, Hoboken, NJ: John Wiley & Sons, 2019, pp291-305
  • Marcus Verhagen, Flows and counterflows: globalisation in contemporary art, London: Sternberg Press, 2017
  • Tim Griffin, ‘Global tendencies: Globalism and the large-scale exhibition’, Artforum International; New York Vol. 42, Iss. 3, (Nov 2003)
  • Yaiza Hernández Velázquez, ‘Imagining Curatorial Practice’, Curating After the Global: Roadmaps for the Present, MIT Press, Cambridge, MA, 2019, p.269.
     

Week 10: May 2

Collaborative practices and Indigenous knowledge 

Guest lecture (via zoom): Freja Carmichal, Curator of long water: fibre stories (IMA) and co-curator of The National 4, 2023

Site visit: The National, Carriageworks

 

This week looks to the present and future of collaborative curating through the prism of Indigenous creative practice in the field of fibre arts. Our guest lecturer will discuss her collaborative curatorial projects with fibre artists from Yuwaalaraay (North West NSW), Quandamooka (Moreton Bay), Kuku Yalanji (Far North QLD), Zenadh Kes (Torres Strait Islands, QLD) and Yurruwi (Milingimbi Island, NT) homelands. This week also includes a site visit to The National at Carriageworks where we will engage with this snapshot of contemporary Australian art from around the country and from a variety of homelands. 

 

Required Reading

Catalogue Essay for The National, yet to be published.

Further Reading

  • Stephen Gilchrist and Henry Skerritt. Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt’, Contemporaneity, vol. 5, no. 1, 2016, pp108-121
  • Stephen Gilchrist. Everywhen: The Eternal Present in Indigenous Art from Australia, Harvard Art Museums, 2016.
  • Djon Mundine, ‘The Creature from the Id: Adventures in Aboriginal Art Curating’, A Companion to Curation, Brad Buckley and John Conomos, Hoboken, NJ: John Wiley & Sons, 2019, p.277-290
  • Perkins, Hetti. fluent: Emily Kame Kngwarreye, Yvonne Koolmatrie, Judy Watson, Art Gallery of New South Wales, 1997.
  • Smith, Terry. ‘Country, Indigeneity, Sovereignty: Aboriginal Australian Art, Art to Come: Histories of Contemporary Art, Durham and London: Duke University Press, 2019, pp156-197
     

Week 11: May 9

The Artist as Curator and Curator as Artist

Many of the curatorial projects and texts we have engaged with on this course present artists and curators in a dynamic relationship. This week examines what happens when the traditional roles of artist and curator are intentionally disrupted. We will explore slippages between artistic and curatorial work in case studies from in and outside the museum. We will also reflect on the opportunities for critique, creativity and risk that such projects afford artists and curators moving forward. This week is also an opportunity to reflect on the relationships between artist, curator and curatorial elements in your own proposals.

Required Reading                                                                                                    

Lilian Cameron. ‘Artists’ Takeover’, Curating Art Now, London: Lund Humphries, 2022

Dorothee Richter. ‘Artists and Curators as Authors - Competitors, Collaborators or Team-Workers?’, On Curating, no. 19, June 2013, pp43-57. 

Further Reading

  • Brenda Croft, ‘Say My Name’, The Artist as Curator, Intellect Books Ltd, 2015, p115-130
  • Celina Jeffery, ‘Introduction’ The Artist as Curator, Bristol: Intellect Books, 2015, pp7-14
  • Elena Filipovic, ed., The Artist as Curator: An Anthology. Milan: Mousse Publishing and Koenig Books, 2017.
  • Alison Green, ‘Introduction’ and ‘Museums and Not-Museums’, When Artists Curate: Contemporary Art and The Exhibition as Medium. London: Reaktion Books, 2018. 
  • Paul O’Neill, ‘Curating as a Medium of Artistic Practice: The Convergence of Art and Curatorial Practice since the 1990s’, The Culture of Curating and the Curating of Cultures, Cambridge, Massachusetts and London, MIT Press, 2012

 

Week 12: May 23 

Digital (R)evolutions: Curating and the digital realm

This week we will examine how digital developments have changed, and continue to change, the practice of curating. We will discuss the prevalence of the screen and social media in our engagements with art and explore how artists and curators have harnessed the digital to cross new frontiers and engage with audiences in different ways. Finally we will reflect on how a critical engagement with the digital offers a framework through which to reconsider the curatorial role.

Required Reading

Morgan Quaintance, ‘Remote Viewing’, Art Monthly 437, June 2020 (accessed January 2023) https://www.artmonthly.co.uk/magazine/site/article/remote-viewing-by-morgan-quaintance-june-2020

Michael Connor, ‘Curating Online Exhibitions’, Rhizome, May 13, 2020 (accessed January 2023) https://rhizome.org/editorial/2020/may/13/curating-online-exhibitions-pt-1/

 

Additional Reading

  • Lizzie Muller and Caroline Seck Langill, ed., ‘Troublemakers in the museum: Robots, romance and the performance of liveliness. Anna Davis Interviewed by Lizzie Muller’ in Curating Lively Objects: Exhibitions Beyond Disciplines, London: Routledge, 2021
  • Cook, Sarah and Beryl Graham, Rethinking Curating: Art After New Media (Cambridge, MA: MIT Press, 2010.)
  • Annet Decker, Curating digital art: from presenting and collecting digital art to networked co-curation, Amsterdam: Valiz, 2021
  • David England, Thecla Schiphorst and Nick Bryan-Kinns, Curating the Digital: Space for Art and Interaction, Cham: Springer International Publishing, 2016
     

Week 13: May 16

Curatorial Project Plan Feedback Session 

No readings.


 

 

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

At the completion of this unit, you should be able to:

  • LO1. demonstrate an understanding of contemporary curating practices, including the curatorial differences between the spaces, organisations, galleries, and institutions within the contemporary art infrastructure, and apply this knowledge by confidently articulating and contextualising the complex concepts and strategic differences within a peer group
  • LO2. conduct curatorial research through understanding curatorial and art historical research methods, and through practical processes of research and inquiry
  • LO3. engage in experiences that allow them to recognise and value communication as a tool for negotiating and creating new understanding, interacting with others, and furthering their own learning, developing a high standard of oral and written communication skills essential to work effectively in the art industry
  • LO4. respond effectively to unfamiliar problems in unfamiliar contexts; and work effectively in teams and other collaborative contexts.

Graduate qualities

The graduate qualities are the qualities and skills that all University of Sydney graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1 Depth of disciplinary expertise

Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.

GQ2 Critical thinking and problem solving

Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.

GQ3 Oral and written communication

Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.

GQ4 Information and digital literacy

Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.

GQ5 Inventiveness

Generating novel ideas and solutions.

GQ6 Cultural competence

Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.

GQ7 Interdisciplinary effectiveness

Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.

GQ8 Integrated professional, ethical, and personal identity

An integrated professional, ethical and personal identity is understanding the interaction between one’s personal and professional selves in an ethical context.

GQ9 Influence

Engaging others in a process, idea or vision.

Outcome map

Learning outcomes Graduate qualities
GQ1 GQ2 GQ3 GQ4 GQ5 GQ6 GQ7 GQ8 GQ9

This section outlines changes made to this unit following staff and student reviews.

'No changes have been made since this unit was last offered'.

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