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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 271"
COURSE NAME: "Curating Museums and Galleries"
SEMESTER & YEAR: Spring 2014
SYLLABUS

INSTRUCTOR: Ilaria Gianni
EMAIL: [email protected]
HOURS: MW 4:30 PM 5:45 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS:

COURSE DESCRIPTION:
The course is designed to introduce students to the history of contemporary art museums and to curating practices.  Classes will discuss the cultural position of the museum, the evolution of its function, the different forms of display, the recent historical developments of the act of collecting, the position of the visitor and the role of the curator. The primary purpose of the course is to provide students with a critical vocabulary for understanding how museums produce knowledge, and the ways in which history, geography, cultural difference, and social hierarchies are mapped through exhibition practices.


Classes will consider the museum as the result of the different relations between social, political and cultural dominant structures. Discussing the development of  contemporary art museums (Guggenheim, Moma, Tate Modern, Centre Pompidou, Macba, Maxxi ect., ect.) alongside that of the Kunsthalle model, of the fair and of the international exhibition (Venice Biennale, Documenta, Manifesta), the course intends to shed new light upon the relationship between forms of culture. Through a series of richly detailed case studies related to contemporary Rome based museum, collections and institutions, classes will investigate the differences between the roles, the missions, the objectives, and the policies of conservation and exhibition making in spaces, relating to modalities of thought.

A consistent part of the course also intends to introduce the figure of the curator and its development from conservator and classifier to creative, critical protagonist of contemporary art culture.

The course will conclude with an overview of current debates around the contemporary need for museums, and large scale exhibition (such as Biennials and Triennials) and their perceived social functions.

Some of the main ideas and concepts covered will structure a set of questions for the students to consider: Why do we need museums?  What should they look like? Why do we collect things? How can we learn to read exhibits critically? How do artists view museums as social institutions?  How can we imagine collecting practices and museums in the
SUMMARY OF COURSE CONTENT:
During the first classes we will learn about some of the basic concepts in museums and develop a basic vocabulary on museum studies. We will face the difference between a museum understood as an institution and a gallery understood as a commercial activity. After that we will focus on the role and on the function of the curator, and on the definition of curatorial cultural practices.

In the second part of the course we will visit several of Rome’s museums and galleries, surveying the different methods of displaying contemporary cultures, analysing the diverse curatorial decisions and discussing some of the practical issues museums and galleries face.

In the third segment we will analyze the current debates on curating that have risen in the age of international biennials and blockbuster show, discussing the way in which exhibitions are conceived and the subjects they aim to address.

Visits to Museum and Collections based in Rome:

Contemporary Art Museums
- GNAM (Galleria Nazionale d'Arte Moderna)
- MACRO (Museum of Contemporary Art Rome)
- MAXXI (Museum of the XXI century)

Temporary Contemporary Exhibition Centers
- Palazzo delle Esposizioni
- Museo Carlo Bilotti

Private Art Foundations
- Nomas Foundation
- Giuliani Foundation

Private Galleries
- 1/9 Gallery
- Federica Schiavo Gallery
- The Gallery Apart
- Monitor Gallery
- Extraspazio Gallery
- Lorcan O'Neill Gallery
- t293 Gallery
- Nicola Furini Gallery
- Frutta Gallery
LEARNING OUTCOMES:
At the end of the course students should have knowledge of the history of museums, of international large scale exhibitions, current issues and trends in the field, and will be familiar with curatorial practices.  They will have a basic knowledge of the vocabulary used by museum professionals and a basic bibliography of the recent literature.  They will utilize critical thinking and writing skills as they will be required to closely examine, analyze, discuss and write about special exhibitions and museums

Students will learn how to experience contemporary art museums, how to recognize the differences within the roles and functions of museums. Students will also become familiar with the different functions of a contemporary Kunsthalle (temporary exhibition centers), a commercial gallery, an international large scale exhibition (biennials and triennials).

Through an introdcution of the different players of the contmeporary art system, classes also aim at acquainting students with the role of the curator, the museum director, the collector, the art critic. Students will furthermore learn about the history of curating. The course will unveil the theoretical and practical aspects of curating. In general the course will highlight the relationships between cultural theory and art practice.
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Contemporary Cultures of DisplayEmma Barker Yale University Press0300077831     
Thinking Contemporary CuratingTerry SmithIndependent Curators Internationa0916365867     
Ten Fundamental Questions of CuratingJens HoffmannMousse Publishing 9788867490530     
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
A Brief History of CuratingHans Ulrich ObristJRP Ringier 978-3905829556  
Everything You Always Wanted to Know About Curating But Were Afraid to AskHans Ulrich ObristSternberg Press978-1933128252  
Thinking about ExhibitionsReesa Greenberg, Bruce W. Ferguson, Sandy Nairne (edited by), Routledge0-415-11590-6.  
Inside the White Cube: The Ideology of the Gallery SpaceBrian O'DohertyUniversity of California Press978-0520220409  
Harald Szeemann, Individual MethodologyFlorence Derieux (edited by), JRP|Ringier978-3-905829-09-9  
A Manual for the 21st Century Art InstitutionShamita Sharmacharja (edited by), Koening Books and Whitechapel Gallery978-3-86560-618-1  
Curating SubjectsPaul O’Neil (edited by), Open Editions978-9073501713  

RECOMMENDED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
The Curator's Egg: The Evolution of the Museum Concept from the French Revolution to the PresentKarsten SchubertOne-Off Press1873542046  
Men in Black, Handbook of Curatorial PracticeChristoph Tannert, Ute Tischler (edited by)Revolver10: 3936919038  
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Attendance and participation (participation in class discussions and gallery visits: questions asked, involvement in the visits) 15%
Mid-term exams (2 reviews focusing on the museum vists)15%
Final show (Students will be ask to curate a show on thier own. The effort and participation in structuring the show will be graded.)30%
Interview with the artist( A complete conversation addressing the practice of one of the artists involved in the final show)20%
Final exam in class (3 questions on curating and museum studies)20%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the cours
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:
Class attendance and participation in field trips are highly recommended. Please refer to the university catalog for the attendance and absence policy. Please refer to the university catalog for the attendance and absence policy. Please refer to the university catalog for the attendance and absence policy.

ACADEMIC HONESTY As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.

STUDENTS WITH LEARNING OR OTHER DISABILITIES John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

Schedule *
AH 271
Curating Museums and Galleries
Spring 2014
Prof. Ilaria Gianni
M/W 4:30-5.45 PM

* Alterations and/or additions to the schedule may take place. Programs will be confirmed during the course.

Monday January 13

MAKE UP DAY Friday February 14

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Wednesday January 15

Introduction to the course
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Monday January 20


Introduction to Museum studies
- Studioli /Kunstkammer / Wunderkammer / Galleries
- The Birth of the Public Democratic Museum

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Wednesday January 22

Introduction to Museum Studies
- Collection and Collecting

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Monday January 27

Introduction to Museum Studies
- ICOM

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Wednesday January 29

Introduction to Museum Studies
- The Changing Museum - Case Studies: The Museum of Modern Art / The Musée D'Orsay / The Natonal Gallery, London

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Monday February 3

Introduction to Exhibition History
- Exhibitions of Contemporary Art

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Wednesday February 5

Introduction to Exhibition History
- Exhibitions of Contemporary Art
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Monday February 10

Exhibition Practicalities
- Concept devlopment, display, communication plan, budget for an exhibition

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Wednesday February 12

Special exhibition Project
-
Analysis of artists #1

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Friday February 14

Special exhibition Project
- Analysis of artists #2
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Monday February 17


Museums in Rome
Lecture by Giulia Ferracci, Assistant curator at MAXXI
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Wednesday February 19

Museums in Rome
Lecture by Carolina Pozzi, Assistant curator at MACRO

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Monday February 24

Mid-term exams

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Wednesday February 26

Art Foundations in Rome
On site class to Foundazione Volume with curator Silvano Manganaro
Meeting  point: JCU Guarini Campus

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Monday March 3

Art Foundations in Rome
Lecture by Adrienne Drake, Director and Curator at Fondazione Giuliani

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Wednesday March 5

Art Foundations in Rome
Lecture by Ilaria Gianni and Cecilia Canziani, Directors and Curators at Nomas Foundation

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Friday March 7

Exhibition project tutorials

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Monday March 10

Artists in Rome
Lecture by Luana Perilli – to be confirmed

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Wednesday March 12

Artists in Rome
Lecture by Michela de Mattei– to be confirmed

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Monday March 17

Introduction to the Gallery System
Commercial Galleries: Functions and Aims

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Wednesday March 19

Galleries in Rome
On site class to Monitor Gallery with Gallery Director Manuela Contino
Meeting Point: JCU Guarini Campus

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Monday March 24

Spring Break

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Wednesday March 26

Spring Break

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Monday March 31

Exhibition project tutorials

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Wednesday April 2

Introduction to Curatorial Studies
- The Birth of the Curator: Seth Sieglaub and Harlad Szeemann _____________________________________________________________________________________________

Monday April 7

Introduction to Curatorial Studies
- The Birth of the Curator: Seth Sieglaub and Harlad Szeemann

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Wednesday April 9

 Introduction to Curatorial Studies
- Curatorial discussions
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Monday  April 14

Introduction to Curatorial Studies
- Curatorial discussions

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Wednesday April 16

Exhibition project Tutorials

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Monday April 21

Recap of the program

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Wednesday April 23

Recap of the program

 


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