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Curating and Collecting Post-Screen – Professional Development

NOVEMBER 15 and 16 | ULHT – UNIVERSIDADE LUSÓFONA DE HUMANIDADES E TECNOLOGIAS

TRAINER: Beryl Graham

LANGUAGE: English
LOCATION: Classroom A1.1 (ULHT)
FEE: 50 €

DATE: November 15 and 16, 2016
DURATION: 10 hours
SHEDULE:
November 15 (Tuesday): 18h > 21h
November 16 (Wednesday): 10h > 17h

TARGET STUDENTS: 18+; ideally those studying, researching or working as curators, exhibition organisers, producers or makers in the contemporary art, design, and culture fields.
NUMBER OF STUDENTS REQUIRED: Min. 10 / Max. 15 students
MATERIAL REQUIRED BY STUDENTS: Laptop or tablet if possible, but not compulsory.

 

DEADLINE FOR APPLICATION PAYMENT: November 11, 2016
For more information or support about registration please contact anavicente@fba.ul.pt

Application Form
Programme

 

Introduction:

The course will critically examine how contemporary curating can best match the newest and most exciting contemporary art practices, including practices that might be collaborative, or participatory. Since ‘new media’ including social networking, augmented reality and open source have changed thinking on how art works in time and space, this course aims to update professional knowledge in the field. The local, national and international contexts of curating are examined.

 

Objectives:

To develop professional practice by analysing international case studies of curatorial practice, and applying relevant systems to specific local contexts and needs. A series of practical exercises are combined with international presentations.

 

Evaluation:

No formal evaluation of participants, but useful findings will be documented, and can be shared publicly if the participants agree.

 

Readings:

Graham, Beryl and Sarah Cook (2010) Rethinking Curating: Art After New Media. Cambridge: MIT Press.

Shannon, Louise (2014) “Historic collection, contemporary audience: Victoria and Albert Museum.” In: Graham, Beryl (ed.) New Collecting: Exhibiting and Audiences after New Media Art. London: Ashgate.

Redler, Hannah (2009) “From interventions to interactions: Science Museum Arts Projects history and the challenges of interpreting art in the Science Museum.” Jcom, Journal of Science Communication, 08 (2). 0-4. 

Graham, Beryl (2013) “Open and closed systems: new media art in museums and galleries.” In: Michelle Henning (ed.) Museum and Media [online]. International Handbook of Museum Studies Series. Hoboken and Oxford: Wiley-Blackwell. http://onlinelibrary.wiley.com/doi/10.1002/9781118829059.wbihms997/full.

Vishmidt, Marina with Mary Anne Francis, Jo Walsh, and Lewis Sykes (2006) Media Mutandis: a NODE.London reader. Surveying art, technologies and politics. London: NODE/Mute.

Dezeuze, Anna (ed.) (2010) The ‘Do-it-Yourself’ Artwork: Participation from Fluxus to New Media. Rethinking Art’s Histories series. Manchester: Manchester University Press.

 

Trainer’s Bio:

Beryl Graham is Professor of New Media Art at the University of Sunderland, and is co-founder of CRUMB resource for curators of new media art. She curated the international exhibition Serious Games for the Laing and Barbican art galleries. Her books include Digital Media Art (Heinemann 2003), Rethinking Curating: Art After New Media (MIT Press 2010 with Sarah Cook), and New Collecting: Exhibiting and Audiences (Ashgate 2014 ed.). She has presented papers at conferences including Navigating Intelligence (Banff), Decoding the Digital (Victoria and Albert Museum), and Cultural Value and the Digital (Tate Modern). She supervises several PhD researchers including AHRC-funded studentships, and is Programme Leader of MA Curating. She leads the yearly Curating Art After New Media: Professional Development Short Course in London.

http://www.berylgraham.com

 

Application Form
Programme