CCS MA Courses Handbook

MA in Critical Management & Curating

MA in Curating Contemporary Art

MA in Curating Latin American Art

MA in Gallery Studies & Critical Curating

MA in Gallery Studies with Dissertation

Centre for Curatorial Studies [CCS] Department of Art History & Theory

University of Essex

2009-2010

2

Contents Page

Welcome to the Centre for Curatorial Studies [CCS] 3

1.1 – CCS MA Courses Overview 4

1.2 - MA in Critical Management & Curating 6

1.3 – MA Curating Contemporary Art 7

1.4 – MA Curating Latin American Art 8

1.5 – MA in Gallery Studies & Critical Curating 9

1.6 – MA in Gallery Studies with Dissertation 10

1.7 – Overview of the Year 11

2.1 – Coursework Introduction 12

2.2 – Coursework Overview & Deadlines 13

2.3 – Modules & Coursework Details 15 AR905 – Photography Degree Zero: Art and Photography 1960 to the present 16

AR910 – Critical Texts and Issues in the History and Theory of Exhibition Making 19

AR911 – Case Studies in the History of Museums and Exhibitions 24

AR912 – Managing Galleries and Exhibition Projects 28

AR915 – History and Identity in Latin America 30

AR933 – Researching Art History 35

AR936 – Art, Politics and Ethics: Contemporary Art and Social Responsibility 39

AR951 – Key Issues in Curating: Conservation, Design and Display 43

AR952/AR953/AR958 – Exhibition Curatorial Methodologies 46

2.4 - Guidelines on Preparing and Submitting your Final Assessed Coursework 48

2.5 - Guidelines on Preparation and Submission of Dissertations 51

3.0 – Curatorial Workshop “Paper Curating” 52

4.1 – Placement Information 2009/10 53

4.2 – Placement/Internship Procedures 54

4.3 – Health & Safety Considerations: Placements 55

5.1 – Notes on the Use of Resources in the Department 56

5.2 – Insurance for Exhibitions/Projects 57

Appendix A – Main CCS Bibliography 58

Appendix B – List of Past Exhibition Titles 65

Appendix C – List of Past Dissertation Titles 69

Appendix D – CCS Staff Contact Details 73

3

Welcome to the Centre for Curatorial Studies [CCS] at the University of Essex Welcome! We are very much looking forward to working with you over the coming year. This handbook contains both brief introductory notes about your course and more detailed descriptions about the classes and coursework you will be undertaking with us here at CCS. It is specifically designed for students of CCS following the MA in Critical Management & Curating, the MA in Curating Contemporary Art, the MA in Curating Latin American Art, the MA Gallery Studies & Critical Curating, or the MA in Gallery Studies with Dissertation. The starting point for your understanding of the course you have chosen is here within the pages of this handbook, and we and our other colleagues in the Department of Art History & Theory are always available and on-hand to answer any other questions that you may have about your studies. Please take time to study these pages before teaching begins, and keep this booklet with you throughout your year with us. Further information is available via the CCS web-pages on the Department of Art History & Theory web-site:

http://www.essex.ac.uk/arthistory/ In particular, grade descriptors, learning aims and outcomes and all the other details contained in the programme specifications for this and other courses can be found at:

http://www.essex.ac.uk/programmespecs Please also visit the Student Support Office pages at:

www2.essex.ac.uk/stdsup Note especially the various kinds of help, advice and support that are available to disabled students and to students suffering from any specific learning difficulty (e.g. dyslexia). Should you encounter any difficulties to do with your course or if you have queries of any kind, please always feel free to speak to us, and/or Myra Offord, Graduate Administrator, and/or Libby Armstrong, Departmental Administrator. We are here to make your time at Essex as enjoyable, as productive and as successful as possible. We, and all the other members of staff in the Department of Art History and Theory, are very much looking forward to working with you this coming year.

Dr. Michaela Giebelhausen & Matthew Poole Directors, CCS MA Programmes

Room 6.135 & Room 5A.110 Email: mgiebel@essex.ac.uk & poolem@essex.ac.uk

Telephone: ext 3445 & ext 2600

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1.1 - CCS MA Courses Overview CCS offers a range of MA level degrees to suit a broad range of career goals. Most of the classes that you take will be with other CCS students and some, depending on which degree you are enrolled on, may be taken with other MA Art History students, and/or students from other departments. The MA degrees offered by CCS are taught courses consisting of seminars, lectures, curatorial practice sessions, tutorials and on-site gallery and museum visits. However, you will also be required to spend a significant amount of time involved in self-directed study, particularly in the preparation and execution of your final assessed coursework. All of this is supported by individual or group tutorials, either with your course director(s) and/or with other members of staff in the department. The teaching, although separated into discrete modules, is carefully coordinated to ensure that theoretical and historical material, as well as practical and vocational material is delivered at points throughout the year which strategically coincide with your personal project timetables, whether these be an exhibition project, a dissertation, a fieldwork research project, or the production of a portfolio of project proposals and research journal. How is the teaching structured? You will take a number of 10-week modules in the Autumn and Spring terms. However, because of the specificities of museological and contemporary curatorial studies and practice, the modules offered by CCS will include a combination of the following:

• Curatorial Management Classes – these type of sessions cover practical aspects of exhibition-making: including developing and refining concept and research, planning and programming, negotiating loans, transport, insurance, sponsorship and fundraising, health & safety, legal considerations, and press and marketing.

• Design & Display Workshops - led by visiting speakers: leading professionals from key areas of exhibition-making who provide specialist knowledge and supervise workshops on topics including graphic design, catalogue production, gallery education, access and interpretation, object handling, environmental controls and lighting, and elements of current conservation practice.

• History & Theory Lectures - are delivered in conjunction with Reading Seminars. Historical and contemporary examples and case studies are explored thorough the lens of current issues and research in the fields of museology and contemporary curatorial practice.

• Reading Seminars - interspersed throughout the lecture series, these offer the opportunity to explore and debate classic texts and key current issues relating to curatorial practice, and to the history of galleries and museums.

• Fortnightly visits to museums and galleries in London and elsewhere give the opportunity for you to analyse how both temporary exhibitions and permanent displays are organised. This usually provides the opportunity to meet and talk to curators in these venues. These visits are also timetabled to coincide with specific elements of the teaching on campus.

PLEASE NOTE: Depending on which course you are studying you will take part in some or all of the classes detailed in this handbook.

5

What follows are all the details and instructions of which specific modules you must take and those that are optional for your chosen degree. The table below outlines the main differences between the five different CCS MA degree schemes that we offer within the department.

AR

910

AR

911

AR

912

AR

933

AR

951

Mod

ule

Opt

ion

1

Mod

ule

Opt

ion

2

Fin

al

Ass

esse

d C

ours

e-w

ork

MA in Critical Management & Curating

♦

♦

♦*

♦*

Work alone or in groups to produce a detailed fieldwork report and presentation on the management of one or more cultural organisations.

MA Curating Contemporary Art

♦

♦

♦

♦

♦

Individually produce a research journal and portfolio of project proposals.

MA Curating Latin American Art

♦

♦

♦

♦

♦

Work together or alone to create an exhibition or other presentation working with the resources and collection of UECLAA [University of Essex Collection of Latin American Art].

MA in Gallery Studies & Critical Curating

♦

♦

♦

♦

Produce an exhibition as part of the University Gallery’s programme with a small group of your colleagues on that course.

MA in Gallery Studies with Dissertation

♦

♦

♦

♦

♦

Research an original text on a subject of your choosing from our specialist fields of museology and contemporary curating.

[* The Modules will be provided by and taken in The Essex Business School] Most other aspects of these courses are very similar and teaching is delivered together for many courses, excepting tutorial support for your coursework essays and major project, which is specially tailored for the needs of your research either for exhibitions/presentations, for dissertations, or for your research journal and projects portfolio. PLEASE NOTE: Students taking CCS MA degree programmes in Curating Contemporary Art, Curating Latin American Art and Gallery Studies with Dissertation will take the module AR933 - Researching Art History with Professor Neil Cox and Professor Margaret Iversen, which provides a foundational knowledge of and skills for engaging with different methodologies used in Art History, Critical Theory, and other forms of writing about art.

6

1.2 - MA in Critical Management & Curating This unique and innovative course is taught in collaboration with the Department of Art History & Theory and The Essex Business School [formerly the Department of Accounting Finance and Management]. It is a one-year full-time Masters Degree course that is specially designed for those wishing to pursue a career in the management of museums, galleries and other cultural organisations or institutions. Assessment: Throughout the year you take two taught modules in each department. You write four essays [one for each module]. For your final assessment you may work alone or in groups to produce a detailed fieldwork report and presentation on the management of one or more cultural organisations.

AR

912

Man

agin

g ga

llerie

s and

ex

hibi

tion

proj

ects

AR

951

Key

issu

es in

cur

atin

g; c

onse

rvat

ion,

de

sign

and

dis

play

AC

913

Man

agem

ent i

n or

gani

satio

ns

Mod

ule

1AC

950

Man

agem

ent

Psyc

holo

gy

AR

953

Exhi

bitio

n (I

ndiv

idua

l or

Join

t Pro

ject

)/ - F

ield

wor

k Pr

ojec

t Pre

sent

atio

n

AR

952

Exhi

bitio

n Po

rtfol

io

(Ind

ivid

ual)

Fiel

dwor

k Pr

ojec

t D

etai

led

Eval

uativ

e R

epor

t

Autumn Term ♦ ♦ ♦ ♦ ♦ Spring Term ♦ ♦ ♦ Summer Term ♦ ♦

Programme aims: This degree scheme will offer you the opportunity to combine practical and theoretical training in curating and managing museum projects and exhibitions. It aims to familiarize you with basic principles of professional good practice both in management and in museum and gallery work, while enabling you to develop the skills and self-reliance needed to undertake an independent project. These skills include a capacity for critical inquiry and argument, imaginative understanding, written, spoken and visual interpretation, communication and presentation, working in a team, competence in project and financial management. The acquisition of these skills will not only stand you in good stead for more specialised museum and gallery careers but will enhance opportunities for employment in a wide range of other professions. At the same time, the degree encourages critical reflection on management, seen in a broader societal context, and will develop your knowledge and understanding of general principles and theoretical frameworks of management and organisation. It will also examine the relationship between behaviour and experience, focusing primarily on the role of the individual within an organisation, including the significance of time, gender and motive as organising principles.

7

1.3 - MA Curating Contemporary Art This programme is a one-year full-time Masters Degree that is specially designed for those wishing to pursue a career in the field of curatorial practice either in museums, galleries and other cultural organisations or institutions, with specific focus on contemporary art. It is designed for those that may already have a professional practice in this area, such as freelance curators, or those with experience of working in other ways with art who wish to move into this field. Assessment: Throughout the year you take four taught modules in the department of Art History & Theory, plus the AR933 Researching Art History course. You write four essays [one for each module] plus coursework for AR933. For your final assessment you will work throughout the year to produce an individual research journal and portfolio of project proposals that will develop ideas, issues and themes that you identify as central to your curatorial practice. The research journal may contain written and visual material produced and found by you, such as exhibition reviews, book or article reviews, interviews with artists or curators, notes or short pieces of writing, photographs of art works, or galleries, spaces, places, or other cultural material. The portfolio will contain a series of proposals for exhibitions or other types of curatorial projects. These will describe the proposed projects and detail the context and rationale for each project, plus lists of participants and possible venues, with justification for these choices, and details of all practical matters pertaining to the manifestation of each project. PLEASE NOTE: there is no expectation that you actually produce these projects. However, if you wish to and have the resources we will support you where we can.

AR

933

Res

earc

hing

Art

His

tory

AR

912

Man

agin

g G

alle

ry &

Exh

ibiti

on

Proj

ects

AR

951

Key

Issu

es in

Cur

atin

g:

Con

serv

atio

n, D

esig

n, D

ispl

ay

AR

936:

Art,

Pol

itics

& E

thic

s or

A

R90

5: P

hoto

grap

hy D

egre

e Ze

ro

Dep

t. A

rt H

isto

ry &

The

ory

Opt

iona

l Mod

ule*

AR

958

Fina

l Ass

esse

d Pr

ojec

t:

Res

earc

h Jo

urna

l & P

ortfo

lio o

f Pr

ojec

t Pro

posa

ls

Autumn Term ♦ ♦ ♦ ♦ Spring Term ♦ ♦ ♦ Summer Term ♦ *[NB. see existing postgraduate course list for Art History & Theory]

Programme aims: This new MA provides academic teaching and professional training in the area of contemporary art curatorial practice in a form that allows you the freedom to pursue your own individual research interests and to develop your own practice as a curator of contemporary art. The course offers you the chance to develop practice-led research and combines academic study, and professional vocational training.

8

1.4 - MA Curating Latin American Art This new MA programme offer an innovative course of study for those seeking a professional training qualification and academic study in the areas of museology, curatorial practice, and Latin American Art. This unique scheme makes direct use of University of Essex Collection of Latin American Art (UECLAA) as a powerful and rich teaching and research resource. This programme is a one-year full-time Masters Degree that is specially designed for those wishing to pursue a career in the field of curatorial practice either in museums, galleries and other cultural organisations or institutions, with specific focus on Latin American art either historic or contemporary. It is designed for those that may already have a professional practice in this area, such as freelance curators, or those with experience of working in other ways with art who wish to move into this field. Assessment: Throughout the year you take four taught modules in the department of Art History & Theory, plus the AR933 Researching Art History course. You write four essays [one for each module] plus coursework for AR933. For your final assessment you will work together with colleagues on the course or alone to create an exhibition or other presentation working with the resources and collection of UECLAA [University of Essex Collection of Latin American Art]. At the end of the summer, you will be required to submit a descriptive and evaluative report on the exhibition project in the form of a portfolio, written individually.

AR

933

Res

earc

hing

Art

His

tory

AR

912

Man

agin

g G

alle

ry &

Exh

ibiti

on

Proj

ects

AR

915

His

tory

& Id

entit

y in

La

tin A

mer

ica

AR

951

Key

Issu

es in

Cur

atin

g:

Con

serv

atio

n, D

esig

n, D

ispl

ay

Dep

t. A

rt H

isto

ry &

The

ory

Opt

iona

l Mod

ule*

AR

952

Fina

l Ass

esse

d Pr

ojec

t:

UEC

LAA

Exh

ibiti

on/P

roje

ct

& In

divi

dual

Rep

ort/P

ortfo

lio

Autumn Term ♦ ♦ ♦ ♦ Spring Term ♦ ♦ ♦ Summer Term ♦ *[NB. see existing postgraduate course list for Art History & Theory]

Programme aims: This new MA provides academic teaching and professional training in the area of historic and contemporary art curatorial practice, with a focus on Latin American Art, in a form that allows you the freedom to pursue your own individual research interests. The course offers you the chance to develop practice-led research and combines academic study, and professional vocational training.

9

1.5 - MA in Gallery Studies & Critical Curating The MA in Gallery Studies & Critical Curating has been running in The Department of Art History & Theory for over twenty years. It is a unique type of museology course that offers the chance to engage in study and training for those wishing to develop a professional career working in museums, galleries or other cultural organisations. This programme is a one-year full-time Masters Degree that is specially designed for those who may be new to the museums and galleries sector. It provides the opportunity to research and write about key issues relevant to today’s culture industry and the opportunity of curating an exhibition shown in the University Gallery during the summer term. Students work in small groups and are individually and collectively given responsibility for every aspect of the exhibition-making process, from conception to realisation. This includes defining the subject of the exhibition, negotiating loans, arranging transport and insurance, designing and installing the exhibition, researching, writing and producing the catalogue, writing promotional material, contacting press and media and devising an education programme. Throughout the process of preparing the exhibition, students attend tutorials to consult with tutors, report on progress and discuss issues arising out of the project. Assessment: Throughout the year you take four taught modules in the department of Art History & Theory. You write four essays [one for each module]. For your final assessment you will work together with colleagues on the course to produce an exhibition as part of the University Gallery’s annual programme. At the end of the summer, you will be required to submit a descriptive and evaluative report on the exhibition project in the form of a portfolio, written individually.

AR

910

Crit

ical

Tex

ts A

nd Is

sues

In T

he

His

tory

And

The

ory

Of E

xhib

ition

M

akin

g

AR

911

Cas

e St

udie

s in

Mus

eum

, Gal

lery

an

d O

ther

Cur

ator

ial P

ract

ice

AR

912

Man

agin

g G

alle

ry &

Exh

ibiti

on

Proj

ects

AR

951

Key

Issu

es in

Cur

atin

g:

Con

serv

atio

n, D

esig

n, D

ispl

ay

AR

953

Fina

l Ass

esse

d Pr

ojec

t:

Uni

vers

ity G

alle

ry (G

roup

) Ex

hibi

tion/

Proj

ect

AR

952

Fina

l Ass

esse

d Pr

ojec

t:

(Ind

ivid

ual)

Eval

uativ

e R

epor

t Po

rtfol

io

Autumn Term ♦ ♦ ♦ ♦ Spring Term ♦ ♦ ♦ ♦ Summer Term ♦ ♦

Programme aims: This degree offers you the opportunity to combine practical and theoretical training in exhibition making with a grounding in the history and principles of display. You will become familiar with the basic principles of professional good practice in museum and gallery work, and to afford the opportunity to acquire technical competence in applying them. To develop in students the research skills appropriate to academic study of the history of exhibitions or of exhibition curating, and to provide the basis for them to develop the necessary levels of skill and knowledge required to progress to research degree level.

10

1.6 - MA in Gallery Studies with Dissertation The MA in Gallery Studies with Dissertation has been running in The Department of Art History & Theory for over twenty years. It is a unique type of museology course that offers the chance to engage in study and training for those wishing to develop a professional career working in museums, galleries or other cultural organisations. This programme is a one-year full-time Masters Degree that provides an opportunity not only to gain historical and theoretical knowledge of the process of exhibition making, but also to contribute to the growing literature on the subject in the form of an original piece of writing and research. Regular tutorials introduce students to research methodology and provide the opportunity to present work in progress. Compulsory placements will be arranged: these involve students in projects currently taking place in museums and galleries, and are intended to underpin theoretical perspectives with practical experience. Assessment: Throughout the year you take four taught modules in the department of Art History & Theory, plus the AR933 Researching Art History course. You write four essays [one for each module] plus coursework for AR933. For your final assessment you will research, plan and write a dissertation on a topic related to museology and/or contemporary curatorial practice.

AR

933

Res

earc

hing

Art

His

tory

AR

910

Crit

ical

Tex

ts A

nd Is

sues

In T

he

His

tory

And

The

ory

Of E

xhib

ition

M

akin

g

AR

911

Cas

e St

udie

s in

Mus

eum

, Gal

lery

an

d O

ther

Cur

ator

ial P

ract

ice

AR

912

Man

agin

g G

alle

ry &

Exh

ibiti

on

Proj

ects

AR

951

Key

Issu

es in

Cur

atin

g:

Con

serv

atio

n, D

esig

n, D

ispl

ay

Fina

l Ass

esse

d Pr

ojec

t:

Dis

serta

tion

Autumn Term ♦ ♦ ♦ ♦ Spring Term ♦ ♦ ♦ Summer Term ♦

Programme aims: This degree offers you the opportunity to combine practical and theoretical training in exhibition making with a grounding in the history and principles of display. You will become familiar with the basic principles of professional good practice in museum and gallery work, and to afford the opportunity to acquire technical competence in applying them. To develop in students the research skills appropriate to academic study of the history of exhibitions or of exhibition curating, and to provide the basis for them to develop the necessary levels of skill and knowledge required to progress to research degree level.

11

1.7 - Overview of the Year Principal elements of the CCS MA Degree Programmes: The bulk of taught classes take place in the Autumn and Spring Terms [please also see the Departmental Timetable for specific days of the week and times of classes, lectures, and seminars, plus room allocation]. Throughout the year there are also fortnightly museum & gallery visits to London or elsewhere, which will take place on alternate Fridays in the Autumn and Spring Terms. In addition to this group and individual tutorials will be held at other times. [PLEASE NOTE: due to the busy nature of the work of some of our visiting professionals, it may be necessary to move, swap and otherwise re-arrange certain sessions. If this is necessary we will give you notice well in advance]. Autumn Term Lecture/Seminar Series module (AR910 - Critical Texts & Issues: History & Theory Of Exhibition Making) Curatorial Practice Workshop/Seminar (AR912 – Managing Museums, Galleries and Exhibitions) Other Art History & Theory MA Modules Essex Business School Modules Fortnightly Gallery Visits Group and Individual Tutorials Spring Term Lecture/Seminar Series Module (AR911 – Case Studies In The History Of Museums & Exhibitions) Curatorial Practice Workshops/Seminars (AR951 – Key Issues in Design & Display) AR933 Researching Art History Other Art History & Theory MA Modules Essex Business School Modules Fortnightly Gallery Visits Group and Individual Tutorials Summer Term No formal teaching takes place in the summer term.

However, group and individual tutorials can and should be arranged with course directors, tutors and other members of staff.

Under on-going supervision, all students will work on the completion of their final assessed coursework projects, and MA Gallery Studies with Dissertation students will research and write their dissertations and undertake placements.

PLEASE NOTE: Special lectures, and seminar series may be organised in the summer term. These will be advertised well in advance.

12

2.1 – Coursework - Introduction What will you submit for assessment? i) MA in Critical Management & Curating students are required to submit:

• two essays on historical/theoretical aspects of exhibition-making/curating • two essays set by the Essex Business School in conjunction with modules taken there • a fieldwork research project [presentation & report document] on the management of one or more

cultural organisations ii) MA Curating Contemporary Art students are required to submit:

• a bibliographical research report and a short paper for Researching Art History [AR933] • one critical review of an exhibition display or gallery/museum design • two essays on historical/theoretical aspects of exhibition-making/curating • one essay from the elected optional Art History & Theory module taken • a research journal produced throughout the year • a portfolio of project proposals of curatorial projects iii) MA Curating Latin American Art students are required to submit:

• a bibliographical research report and a short paper for Researching Art History [AR933] • an exhibition/project proposal • two essays on historical/theoretical aspects of exhibition-making/curating • one essay from the elected Latin American Art History module taken • an exhibition/project produced with UECLAA • a portfolio/evaluative report on their exhibition/project, written individually • a portfolio, produced collectively, that document the whole exhibition project (not assessed) iv) MA in Gallery Studies & Critical Curating students are required to submit:

• an exhibition proposal • one critical review of an exhibition display or gallery/museum design • two essays on historical/theoretical aspects of exhibition-making/curating • an exhibition/project produced collaboratively with colleagues on the course • a portfolio/evaluative report on the exhibition, written individually • a portfolio, produced collectively, that document the whole exhibition project (not assessed) v) MA in Gallery Studies with Dissertation students are required to submit:

• a bibliographical research report and a short paper for Researching Art History [AR933] • one critical review of an exhibition display or gallery/museum design • three essays on historical/theoretical aspects of exhibitions • a dissertation of 10,000-15,000 words • a report on their placement[s] [750-1,000 words – not assessed, but mandatory] [NB. for MA GSD students, one of the three historical/theoretical essays may be on a topic related to the student’s dissertation] (Please consult the rules of assessment in the separate Postgraduate Handbook for further details of coursework and assessments for your chosen MA degree)

13

2.2 - Coursework Overview & Deadlines

Departmental coursework deadlines are as follows: Essay Deadlines The deadline for submission of essays is 4pm on the following dates: For the Autumn Term Modules: Week 18 - Monday 1 February 2010 Deadlines for AR933 Researching Art History coursework are:- Assignment 1, Week 18 - Thursday 4 February 2010 Assignment 2, Week 25 - Thursday 25 March 2010 For other Spring Term Modules: Week 32 – Monday 10 May 2010 MA Dissertation/ Portfolio/ Final Assessed Coursework: Week 50 – Monday 13 September 2010 All essays must be submitted along with a completed cover sheet as early as possible on or before the deadline date. Cover sheets are available from the Graduate Office (Room 6.137) and on-line at:

http://www.essex.ac.uk/arthistory/current.asp#pg IT IS CRUCIAL THAT YOU REFER TO THE FOLLOWING PAGES AND WRITE THE CORRECT MODULE CODE (the AR number) ON THE ESSAY COVER SHEET WHEN YOU HAND IT IN TO MYRA. (see below) The above deadlines apply to ALL MA students taking postgraduate taught modules. This includes part-time and modular students. The following table shows which coursework essays are to be undertaken by you for the modules that constitute your chosen degree programme:

14

M

A C

ritic

al

Man

agem

ent

& C

urat

ing

MA

Cur

atin

g C

onte

mpo

rary

A

rt

MA

Cur

atin

g L

atin

Am

eric

an

Art

MA

Gal

lery

St

udie

s &

Cri

tical

C

urat

ing

MA

Gal

lery

St

udie

s with

D

isse

rtat

ion

AR933 Researching Art History

♦ a) Bibliographical Report (deadline: Week 18 – 4pm Thurs 4 Feb ‘10) b) Short Essay (deadline: Week 25 – 4pm Thurs 25 March 2010)

♦ a) Bibliographical Report (deadline: Week 18 – 4pm Thurs 4 Feb ‘10) b) Short Essay (deadline: Week 25 – 4pm Thurs 25 March 2010)

♦ a) Bibliographical Report (deadline: Week 18 – 4pm Thurs 4 Feb ‘10) b) Short Essay (deadline: Week 25 – 4pm Thurs 25 March 2010)

AR905 Photography Degree Zero Or AR936 Art, Politics & Ethics

♦ (deadline AR905: Week 32 4pm Mon 10 May 2010) or (deadline AR936: 4pm Week 18 - Mon 1 February 2010)

AR910 Critical Texts And Issues: History Theory Exhibitions

♦ (deadline: 4pm Week 18 - Monday 1 February 2010)

♦ (deadline: 4pm Week 18 - Monday 1 February 2010)

♦ (deadline: 4pm Week 18 - Monday 1 February 2010)

AR911 Case Studies in Museum, Gallery and Other …

♦ (deadline: Week 32 – 4pm Monday 10 May 2010)

♦ (deadline: Week 32 – 4pm Monday 10 May 2010)

♦ (deadline: Week 32 – 4pm Monday 10 May 2010)

♦ (deadline: Week 32 – 4pm Monday 10 May 2010)

AR912 Managing Gallery/Exhibitions

♦ (deadline: 4pm Week 18 - Mon 1 February 2010)

♦ (deadline: 4pm Week 18 - Mon 1 February 2010)

♦ (deadline: 4pm Week 18 - Mon 1 February 2010)

♦ (deadline: 4pm Week 18 - Mon 1 February 2010)

AR915 History & Identity in Latin America

♦ (deadline: 4pm Week 18 - Mon 1 February 2010)

AR951 Key Issues in Curating

♦ (deadline: Week 32 – 4pm Mon 10 May ‘10)

♦ (deadline: Week 32 – 4pm Mon 10 May ‘10)

♦ (deadline: Week 32 – 4pm Mon 10 May ‘10)

AC913 Management in organisations [Essex Business School]

♦ For Deadlines please see EBS PG Handbook

1AC950 Management Psychology [Essex Business School]

♦ For Deadlines please see EBS PG Handbook

Art History & Theory Module Option

♦ (deadline: see Postgraduate Handbook & consult with course director)

♦ (deadline: see Postgraduate Handbook & consult with course director)

Final Assessed Projects & Reports

♦ For details of when exhibition projects, fieldwork projects, presentations and other curatorial projects, etc. take place see the following pages. All written coursework must be submitted by the final deadline:

15

Week 50 – 4pm Monday 13 September 2010

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2.3 – Modules & Coursework Details

The following pages contain the details of classes, lectures and seminars delivered on the modules directly associated with CCS MA degrees. Here you will find class titles, associated reading for seminars and essay questions. For other optional modules not listed in the following pages please refer to the Art History & Theory MA Modules Handbook. Remember, for your degree, you will take four modules, and modules associated with your final assessed coursework, plus AR933 Researching Art History for some programmes. You should make a note of which modules make-up your chosen degree. For those of you studying on the MA in Critical Management & Curating, two of your modules will be delivered by the Essex Business School. For details of these two modules please refer to the Essex Business School Postgraduate Handbook. For further details of the following modules and the other Art History & Theory modules, plus extended bibliographies for modules delivered by the Department of Art History & Theory please refer to the Art History & Theory MA Modules Handbook. List of MA Modules offered during the academic year 2009–2010:

Autumn Term AR907-7-AU Art and Religion in Rome From Raphael to Bernini AR910-7-AU Critical Texts and Issues in the History and Theory of Exhibition Making AR912-7-AU Managing Galleries and Exhibition Projects AR915-7-AU History and Identity in Latin America AR928-7-AU Music and the Visual Arts: Case Studies in Aesthetic Theory AR936-7-AU Art, Politics and Ethics: Contemporary Art and Social Responsibility AR938-7-AU Romantics and Supermen: French Painting 1819 – 1851

Spring Term AR905-7-SP Photography Degree Zero: Art and Photography 1960 to the Present AR911-7-SP Case Studies in the History of Museums and Exhibitions AR931-7-SP Experimental Cinema in the Digital Age AR931-7-SP Screening AR933-7-SP Researching Art History (core for dissertation students) AR935-7-SP Cubism: Materialism and Metaphysics AR937-7-SP Architecture in Pieces: the Aesthetics of Decay and Destruction AR951-7-SP Key issues in Curating: Conservation, Design and Display AR957-7-SP The Hero, The Genius and the Divine: Concepts of Creation from the Renaissance to the Nineteenth Century Please Note: You will be expected to attend all seminars having read at the very least the titles in ‘Seminar Reading’ on the following lists. It is also expected that you will have read around the subject by looking at other related material, including visual material.

All main reading texts can be found in the black boxes in the Department’s Library, in the books in the departmental Library, as well as in the University Library, either as photocopies or original texts. Also, where necessary, texts will be distributed to you well in advance of each seminar.

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AR905-7-SP PHOTOGRAPHY DEGREE ZERO: Art and Photography 1960 to the present Spring Term Professor Margaret Iversen and Dr. Wolfgang Brückle Thursday 2.00-4.00 in room 6.126A Office hours: TBA This course is about the art of the late 60s and 70s. It approaches that crucial moment in art history from the perspective of photography. Not photography as it is usually considered, that is, as a specific and autonomous medium, but photography as practiced by artists who work between and across the visual arts. The seminars are organized around two texts crucial for contemporary debates concerning photography. There is no doubt that Roland Barthes’s Camera Lucida (1980) was the most important study of photography as theoretical object to have appeared since 1936, that is, since the publication of Benjamin’s celebrated ‘The Work of Art in the Age of its Mechanical Reproducibility.’ And in some ways it is a delayed response. If Benjamin showed how photographic reproduction has the power to turn the unique into the similar by extracting the work from its protective, auratic shell, then Barthes stressed its indexical relation to the particular. Photography is first treated as the medium of the depthless simulacrum, and then as the privileged site of the return of the real. This latter theme connects with the texts in the second half of the term dealing with documentary practices and the archive. This course aims to: Introduce students to some current debates around photography as art give them a grounding in photography theory and connect that theory to a range of art practices in the 60s and 70s. By the end of the course: Students will have understood why photography is so important both in contemporary art practice and as a theoretical object. Have a grasp of the art of the period and be familiar with the work of some of its key figures, and have read some challenging texts and presented a paper related to them. Course Outline: ‘Benjamin, Barthes and Photography,’ Professor Margaret Iversen

WK16. Walter Benjamin, ‘Little History of Photography’, Selected Writings, vol. 2, 1999, pp. 506-530 and Benjamin, ‘The Work of Art in the Age of its Technological Reproducibility’, in Selected Writings, Vol. 3, 2002. (See also, Miriam Hansen, ‘Benjamin, Cinema and Experience’: “The Blue Flower in the Land of Technology,”’ New German Critique, Winter, 1987 and Diarmuid Costello, ‘Aura, Face, Photography,’ in A. Benjamin, Walter Benjamin and Art, 2005) WK17. Douglas Crimp, ‘The Photographic Activity of Postmodernism,’ October, 15, Winter, 1980 and; Rosalind Krauss ‘A Note on Photography and the Simulacral’, October 31, Winter, 1984, pp.49-68 (See also, Crimp’s ‘Pictures’, October, 8, Spring, 1979, p. 87; Michael Camille, ‘Simulacrum’, Critical Terms for Art History, ed. Robert Nelson and Richard Shiff, pp. 31-46; Jean Baudrillard, ‘The Precession of Simulacra’ Simulations, New York, 1983; Roland Barthes, ‘That Old Thing, Art…’ in The Responsibility of Forms, 1985.)

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WK18. Jeff Wall, '"Marks of Indifference": Aspects of Photography in, or as, Conceptual Art', in Ann Goldstein and Anne Rorimer (eds.), Reconsidering the Object of Art: 1965-1975, Museum of Contemporary Art, L.A. and MIT Press, 1996 and ‘Frames of Reference 2003’, in Jeff Wall, Catalogue Raisonné 1978-2004, Schaulager, Steidl, 2006, pp. 443-447. WK19. Roland Barthes, Camera Lucida: Reflections on Photography, New York, 1981; trans. of La chambre claire: Note sur la photographie, Paris, 1980. (See M. Iversen, ‘What is a Photograph?, Art History, vol. 17, n.3, Sept. 1994, pp.450-463 and, for background reading, André Bazin, ‘The Ontology of the Photographic Image,’ What is Cinema?’ vol. 1. For a art critical use of Barthes’ idea of the Punctum, see Hal Foster, ‘Death in America’, October, 75, Winter, 1996, pp.37-60) Phototographic Art, Documentation and the Archive – Dr. Wolfgang Brückle Photography and the archive WK20. Benjamin Buchloh, ‘Gerhard Richter’s Atlas,’ October 88, Spring 1999, pp.117-145. See also his ‘Readymade, Photography, and Painting in the Painting of Gerhard Richter’, in Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975, and Hal Foster, ‘The Archive without Museums’ in: October 77, 1996, pp. 97-119. Photography and documentation in artistic practice WK 21. Robert Smithson, ‘Art Through the Camera’s Eye’, in: Eugenie Tsai: Robert Smithson: Unearthed. Drawings, Collages, Writings, New York: Columbia University Press, 1991, pp. 88-92; id., ‘A Tour of the Monuments of Passaic New Jersey’, The Collected Writings, ed. Jack Flam, Berkeley , Los Angeles, London: University of California Press, 1996, pp. 68-74. See also id., ‘The Spiral Jetty,’ op. cit., pp. 143-153; and Nancy Foote, ‘The Anti-Photographers,’ Artforum 15, Sept. 1976, pp. 46-54. Photography and the problem of objectivism in the documentary tradition WK22. Martha Rosler, ‘In, Around, and Afterthoughts (on Documentary Photography)’ in: Three Works, Halifax: Press of the Nova Scotia College of Art & Design, 1981, reprinted in: Richard Bolton (ed.), The Contest of Meaning. Critical Histories of Photography, Cambridge and London: MIT Press, 1993, pp. 303-343. See also, Clement Greenberg, ‘The Camera's Glass Eye: Review of an Exhibition of Edward Weston’ [1946], in: id.: The Collected Essays and Criticism, Vol. 2: Arrogant Purpose, 1945–49, ed. John O'Brian, Chicago, 1986, pp. 60–63; Abigail Solomon-Godeau, ‘Who Is Speaking Thus? Some Questions about Documentary Photography’ in: Photography at the Dock. Essays on Photographic History, Institutions, and Practices, Minneapolis: University of Minnesota Press, 1991, pp. 169-183. The documentary, the archive, and the end of media specificity WK23. Rosalind Krauss, A Voyage on the the North Sea. Art in the Age of the Post-Medium Condition, London: Thames and Hudson, 1990; id.: ‘Reinventing the Medium’, Critical Inquiry 25, no. 2, Winter 1999, pp. 289-305. See also, id., ‘Photography’s Discursive Spaces: Landscape/View,’ Art Journal 42, Winter 1982, pp. 311-319. WK24 and 25. Student presentations.

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SAMPLE ESSAY TITLES:

• Write a critical account of one of the following: Francesca Woodman's Degree Show; Roni Horn's Books

• Jeff Wall's Photography Theory; Tacita Dean and the Archive; Sophie Calle's Performative Photography.

BIBLIOGRAPHY: For the extended bibliography for this module please refer to the Art History & Theory MA Modules Handbook.

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AR910-7-AU CRITICAL TEXTS AND ISSUES IN THE HISTORY AND THEORY OF EXHIBITION MAKING Autumn Term Wednesday 9.00 – 11.00 Room 6.126A Dr Michaela Giebelhausen Office Hours: TBA or by appointment in room 6.135 This series of lectures and seminars focuses on the museum and its changing modes of display. It charts the history of the public museum from the middle of the eighteenth century to the present. We'll explore classic types of museums and their respective display rhetorics. The broader, underlying questions concern narrative and memory. What stories does the museum tell, what does it remember and how? We're used to being presented with a history of art history when we go to the art museum. But rarely do we pay attention to the rhetoric of that narrative or to the political ends it may serve. In addition to looking at the art museum, the series will also consider the representation of other cultures and of larger and different histories such as emigration, war, slavery or the holocaust. How well is the museum equipped to present these? And how does it do that? And finally we will ask: who needs museums in the virtual age? Course content: Week 2 Lecture: Lost Worlds: how the museum remembers This lecture takes its cue from Quatrèmere de Quincy's eighteenth-century critique of the museum as a dead world. It explores the ways in which the museum attempts to capture history and frame the remains of cultures always already past. Week 3 Seminar reading:

o Svetlana Alpers, ‘The museum as a way of seeing’, in Karp and Lavine (eds), Exhibiting Cultures (Washington: The Smithsonian Institution Press 1991), pp. 25-32.

o Michael Baxandall, ‘Exhibiting intention: some preconditions of the visual display of culturally purposeful objects, in Karp and Lavine (eds), Exhibiting Cultures, pp. 33-41.

o Peter Vergo, ‘The rhetoric of display’, in Miles and Zavala, Towards the Museum of the Future (London and New York: Routledge, 1994), pp. 149-159.

Further reading:

o Rhiannon Mason, ‘Cultural Theory and Museum Studies’, in Sharon Macdonald (ed.), A Companion to Museum Studies (Malden MA: Blackwell Publishing 2006), pp. 17-32.

o Sir John Soane, 'Crude Hints Towards a History of My House', edited by Helen Dorey, in Visions of Ruin: Architectural Fantasies and Designs for Garden Follies, London: The Soane Gallery 1999, pp. 53-78.

o Sharon Macdonald, ‘Collecting Practices’, in Macdonald (ed.), A Companion to Museum Studies (Malden, MA: Blackwell Publishing 2006), pp. 81-97.

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Week 4 Lecture: The rhetorics of the art museum: appropriation, inspiration, innovation This lecture gives an overview of the history of the art museum from the eighteenth century to the present. It explores different types of art museum: the palace of art, the white cube and the cultural factory. These three types embody significant shifts in the viewing and display of art. The lecture investigates what rhetorics of display were used to underpin the museum's claim as a political and civilising institution and it asks what kind of citizens the art museum is meant to help create and serve. Week 5 Seminar reading:

o Carol Duncan, ‘Art Museums and the Ritual of Citizenship’, in Pearce (ed.), Interpreting Objects and Collections (London: Routledge, 1994), pp. 279-286.

o Brian O’Doherty, ‘The Gallery as Gesture’, in Greenberg, Ferguson, Nairne (eds), Thinking about Exhibitions (London and New York: Routledge, 1996), pp. 321-340.

o Carol Duncan, Civilizing Rituals: Inside Public Art Museums (London: Routledge, 1995), ch. 5, ‘The Modern Art Museum: It’s a Man’s World’, pp. 102-132.

Further reading:

o Susan M. Pearce, Museums, Objects and Collections (Leicester: Leicester University Press, 1992), ch. 5, ‘Museums: the intellectual rationale’ pp. 89-117.

o Tony Bennett, ‘The Exhibitionary Complex’, in Greenberg, Ferguson and Nairne (eds), Thinking about Exhibitions (London: Routledge, 1996), pp. 81-112

o Christoph Grunenberg, 'The politics of presentation: the Museum of Modern Art, New York', in Marcia Pointon (ed.), Art Apart: Art Institutions and Ideology across England and North America (Manchester: Manchester University Press, 1994), pp. 192-211.

Week 6 Lecture: Cultures in the museum: the lure of the other This lecture focuses on the display of other cultures in the museum and asks how does an institution like the museum, which is a western construct, deal with the representation of the cultures of others. We will consider various types of display and their relationship with different schools of anthropological thought. Week 7 Seminar reading:

o Ivan Karp & Fred Wilson, ‘Constructing the Spectacle of Culture in Museums’, in Ferguson, Greenberg, Nairne, (eds), Thinking About Exhibitions (London: Routledge 1996), pp. 251-267.

o Further texts tbc

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Further reading: o Shelton, Anthony A., 'Museums and Anthropologies: Practices and Narratives', in S.

Macdonald (ed.) Companion to Museum Studies (Oxford: Blackwell Publishing, 2006), pp. 64-80.

o Hallam, Elizabeth, 'Text, objects and "otherness"', in E. Hallam and B. Street (eds), Cultural Encounters: Representing 'Otherness' (New York and London: Routledge, 2000), pp. 260-283.

Week 8 Lecture: The objects of history This lecture returns to the questions of memory and narrative posed at the very beginning of the series. Mostly we think of the museum as a place to see paintings, artefacts or dinosaurs. But museums do not only exhibit art and things of natural wonder. Some of them deal with subjects such as war, slavery, emigration, genocide or the holocaust. How does the museum present such awful realities? What are the display rhetorics it uses and how does it cast us, the visitor: witness, victim or survivor? Week 9 Seminar reading:

o Susan M. Pearce, ‘Objects as meaning; or narrating the past’, in Pearce (ed.), Interpreting Objects and Collections (London: Routledge 1994), pp. 19-29.

o Stephen Greenblatt, ‘Resonance and wonder’, in Karp and Lavine (eds), Exhibiting Cultures, pp. 42-56.

o Gaynor Kavanagh, ‘Objects as evidence, or not?’, in Pearce (ed.), Museum Studies in Material Culture (Leicester: Leicester University Press 1989), pp. 125-137.

Further reading:

o Philip Fisher, ‘Art and the future’s past’, in Bettina Messias Carbonell (ed.), Museum Studies (Malden, MA: Blackwell Publishing 2004), pp. 436-454

o Paul Williams, Memorial Museums: The Global Rush to commemorate Atrocities (Berg Publishers 2007).

Week 10 Lecture: On the museum's ruins? Thoughts on the postmodern museum experience The final lecture in the series reflects on the postmodern museum experience and the museum boom of the 1980s and 1990s. Although the new millennium is barely a decade old, building museums and thinking about them continues unabated. But what are the key characteristics of the postmodern museum and where is the institution heading in an increasingly virtual age, where second lives are lived online?

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Week 11 Seminar reading:

o Lianne McTavish, ‘Visiting the virtual museum: art and experience online’, in Janet Marstine (ed.), New Museum Theory and Practice (Malden, MA: Blackwell Publishing 2006), pp. 226-246.

o Charles Saumarez Smith, ‘The future of the museum’, in Macdonald (ed.), A Companion to Museum Studies, pp. 543-554.

Further reading: o Charles Jencks, ‘The contemporary museum’, in Contemporary Museums (Architectural

Design Profile No 130), pp. 8-13. o Ghirardo, Diane, Architecture after Modernism (London: Thames & Hudson, 1996), ch.

2, especially pp. 63-102. Coursework: AR910 - for students studying on MA in Critical Management & Curating, MA in Gallery Studies & Critical Curating, and MA in Gallery Studies with Dissertation degree programmes. (deadline: 4pm Monday 1 February, 2010 [week 18]) You will answer one of the questions given below on a historical/theoretical topic. (4,000-5,000 words + illustrations) Essay Titles 1 How does a study and/or critique of different kinds of collecting help to enrich our

understanding of museums, how they were formed and how they have developed?

2 Take as examples one or two museum objects or artefacts (but not a painting) and analyse the different ways in which the objects in question might be studied, interpreted and displayed. What might be the underlying purposes of different kinds of interpretation or display?

3 What would you consider to be an example of a “traditional” gallery hang (paintings,

graphics, works on paper)? Have there been, historically, different ways of displaying these kinds of material; if so, how did they evolve, and what respects have newer museums (e.g. Tate Modern) reacted against more traditional ways of displaying “fine” art?

4 Taking two works of art of historical importance from the past 100 years as case studies,

examine how these works challenged & problematised, informed and developed the conventions of their respective modes of production and exhibition. Discuss the ways in which you believe the two works retain [if at all] their significance and potency if shown in a contemporary context.

5. The museum has frequently been declared dead or represented in ruins. But at the

beginning of the twenty-first century it continues to boom. With visitor numbers soaring and more and more museums being built, what does the future hold? You are invited to design a museum capable of meeting the challenges of the new

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millennium. How do you define its tasks? What will it show and/or collect? How will identify and communicate with its audiences? And what part does it play in society as a whole? Consider these and other questions as you design your museum of tomorrow.

6. What do you consider the museum's role to be vis-à-vis catastrophe, human tragedy and

atrocities? BIBLIOGRAPHY: For the extended bibliography for this module please refer to the Art History & Theory MA Modules Handbook.

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AR911-7-SP CASE STUDIES IN THE HISTORY OF MUSEUMS AND EXHBITIONS Spring Term Lectures/Seminars Matthew Poole Monday: 2.00-4.00 Room 6.106 Office Hours: by appointment – Room 5A.110 This series of lectures and seminars focuses on the concept of ‘critique’ within the visual arts and its manifestation in the operations of both art works, museum and gallery displays, the affect of the work of museums and galleries, and the work of curators. Critique has been seen as the fundamental quality of modern and contemporary art, differentiating it from other forms of art. The reflexivity that critique offers led artists in the 1960s to interrogate the workings of museums and galleries, and indeed the entire network that is the art establishment, often in a strenuous vitriolic matter as in the work of German-American artist Hans Haake. In recent times, however, the model of critique offered by such works has come under scrutiny and the very concept itself is a rich subject for debate and contestation. This series develops an understanding of the current debates surrounding the notion of critique for contemporary art, its institutions, and the people involved in it today. Course content: Week 16 Monday 18th January, 2010, 4-6pm (Room 6.106) Lecture: The Changing Role of the Curator – From Archivist to Auteur To begin to put into context some of the antagonisms that have occurred between artists and the institutions of art in the last century and a half we begin by exploring how the roles and responsibilities of ‘the curator’ have changed over the past two thousand years. This lecture also begins to unpack and analyse some of the political dimensions to the changing work and status of curators. Week 17 Monday 25th January, 2010, 4-6pm (Room. 6.106) Seminar Reading:

• Crimp, Donald, ‘The Postmodern Museum’, in Crimp, D., On the Museum’s Ruins, [Camb. Mass. & London: MIT Press, 1993], pp.282-325.

Further Reading:

o Fuchs, Rudi, On Museums 1: The Dilemma, Art Monthly, #189, September 1995, (p. 3), & Taylor, Brandon, On Museums 2: The Ends of the Museum, Art Monthly, #189, September 1995, (p. 8).

o Staniszewski, Mary Anne, ‘Framing Installation Design – The International Avant Gardes’, in The Power of Display, [Camb. Mass. & London: MIT Press, 2001], Ch.1, pp. 1-58.

• Greenhalgh, Paul, ‘Education, Entertainment and Politics: Lessons from the Great International Exhibitions’, in Vergo [ed.], The New Museology, Ch. 5, pp. 74-98.

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o Preziosi, Donald, ‘Brain of the Earth’s Body – Museums and the Framing of Modernity’, in Museum Studies – An Anthology of Contexts, [Oxford: Blackwell, 2004], Ch.9, pp.71-84.

o Weil, Stephen E., ‘An Inventory of Art Museum Roles’, in Weil, Stephen E., Beauty and the Beasts, (Washington D.C.: Smithsonian Institution Press, 1985), pp. 30-55.

Week 18 Monday 1 February, 2010, 4-6pm (Room 6.106) Lecture: Critique of the Autonomous Object: The shift from Object to Spectator Traditionally it is thought that galleries and museums ‘house’ art works and artefacts; that they are repositories in which a detached aesthetic appreciation of the objects on display can be undertaken without the distractions of everyday life. This lecture explores how this view has changed radically in the past century, and how today the museum and/or gallery can operate as material and medium for art works. Along with this, comes a shift in the roles, responsibilities, expectations and experiences of the audiences for museum and gallery displays. Audiences are no longer the disembodied eye surveying from ‘outside’, but instead we are entirely embodied within the total experience of the display. The key focus here is to look at how artists have provoked and responded to this shift in perspective. Week 19 Monday 8th February, 2010, 4-6pm (Room 6.106) Seminar Reading:

o Groys, Boris, ‘On the New’, in, Art Power, (Camb. Mass.: MIT, 2008), pp. 23-42. o Groys, Boris, ‘On the Curatorship’, in, Art Power, (Camb. Mass.: MIT, 2008), pp. 43-52.

Further Reading:

o Meijers, Debora J.: ‘The Museum and the ‘Ahistorical’ Exhibition’, in Greenberg, Ferguson and Nairne (eds), Thinking about Exhibitions (London: Routledge, 1996), pp. 7-21.

o O'Doherty, Brian, ‘Context as Content’, both can be found in Inside the White Cube, [University of California Press, 2000], p.65-86.

o Brian O’Doherty, ‘The Eye and the Spectator’, in Inside the White Cube, [University of California Press, 2000], p.35-64; and, ‘The Gallery as Gesture’, in Inside the White Cube, [University of California Press, 2000], p.87-107, or, Greenberg, Ferguson, Nairne (eds), Thinking about Exhibitions (London and New York: Routledge, 1996), pp. 321-340.

Week 20 Monday 15th February, 2010, 4-6pm (Room 6.106) Lecture: The Power of Display & Displays of Power It is no longer assumed that museums and galleries are neutral agents of culture. These institutions both represent and actively intervene in and produce the matrix of forces that shape the social and political landscape of our communities. This lecture looks at a series of debates around the work that curators do and their political ramifications to explore how the institutions of culture affect culture.

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Week 21 Monday 22nd February, 2010, 4-6pm (Room 6.106) Seminar Reading:

o Andreasen, Søren, & Bang Larsen, Lars, ‘The Middleman: Beginning to Talk About Mediation’, in O’Neill, Paul (ed.), Curating Subjects (London: Occasional Table, 2007), pp. 20-30.

o Mouffe, Chantal, ‘Cultural Workers as Organic Intellectuals’, in, (eds.) Basti, Buchmann, et al, The Artist as Public Intellectual, [Vienna: Schebrugge.Editor, 2008], pp. 149-160.

Further Reading: • Luke, Timothy W., ‘The Museum: Where Civilisations Clash or Clash Civilises’, in

Genoways, Hugh H., (ed.), Museum Philosophy (Oxford: Alta Mira Press, 2006), pp. 19-26.

o Hooper-Greenhill, Eileen, ‘The Museum in the Disciplinary Society’, in Pearce (ed.), Museum Studies in Material Culture, (Leicester: University of Leicester, 1989), pp.61-72.

o Jacobson, Marjory, ‘The New Museums of the Magnates’, in Jacobson, Marjory, Art & Business: New Strategies for Corporate Collecting, (London: Thames & Hudson, 1993), Ch. 4, pp. 68-83.

o Duncan, Carol, ‘Public Spaces, Private Interests’, in Duncan, C. Civilising Rituals: Inside Public Art Museums, (London & New York, Routledge, 1995), Ch. 3, pp.48-72.

o Duncan, Carol, ‘Art Museums and the Ritual of Citizenship’, in Pearce (ed.), Interpreting Objects and Collections, (London: Routledge, 1994), pp. 279-286.

o Bennett, Tony, ‘The Exhibitionary Complex’, in Greenberg, Ferguson and Nairne (eds), Thinking about Exhibitions, (London: Routledge, 1996), pp. 81-112.

Week 22 Monday 1st March, 2010, 4-6pm (Room 6.106) Lecture: The Institution of Critique - Part I - Institutional Critique The 1960s saw political turbulence sweep the world, and with the resurgence of interest in the work of Marcel Duchamp the art world responded radically with works that critically appraised, analysed and dismantled the institutions, traditions, forms and aesthetics of all aspects of production and reception of art. Artists such as Hans Haake, Michael Asher, and Daniel Buren, to name but three, began to make work that undermined all of the expectations that society held with regard to the place and function of galleries and museums. This lecture looks at paradigmatic works from this period to examine more closely the way in which these critiques operated and what legacy they created. Week 23 Monday 8 March, 2010, 4-6pm (Room 6.106) Seminar Reading:

o Hoffmann, Jens, ‘The Curatorialization of Institutional Critique’, in (ed.) Welchman, John C., Institutional Critique and After, [Zurich: JRP Ringer, 2006], pp. 323-336.

o Haake, Hans: ‘Museums: Managers of Consciousness’, in Rosalyn Deutsche, et al., (ed.), Hans Haake: Unfinished Business, (New York & Cam. MA: New Museum & MIT Press, 1986), pp.60-73

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Further Reading: o Luke, Timothy W., ‘Hans Haake: Unfinished Business’, in Luke, T.W., Shows of Force:

Power, Politics and Ideology in Art Exhibitions, (Durham & London, Duke University Press, 1992), Ch. 11, pp. 152-168.

• Krauss, Rosalind: ‘The Cultural Logic of the Late Capitalist Museum’, October #54, Fall 1990 (MIT Press), pp. 3-17.

o Buchloch, Benjamin H.D.: 'Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions', October #55, (Winter 1990), pp.105-143.

Week 24 Monday 15th March, 2010, 4-6pm (Room 6.106) Lecture: The Institution of Critique - Part II – Critiquing Institutional Critique The final lecture in this series looks at the legacy of Institutional Critique practices from the 1960s and 70s to explore what critique might mean to contemporary artists today. Social reform, political agitation, ethical demands and utopian hopes still remain in most artists’ and curators’ practices. However, many artists, theorists and philosophers no longer believe in the possibility of oppositional critique and many other models of critique now compete within the field. By looking at Relational Aesthetics and other practices from the 1990s and early 2000s we will begin to unravel how critique might operate, be recognised and be effective in contemporary art. Week 25 Monday 22nd March, 2010, 4-6pm (Room 6.106) Seminar Reading:

o Fraser, Andrea: ‘From the Critique of Institutions to an Institution of Critique’, ARTFORUM, Sept. 2005, pp. 278-283.

• Basualdo, Carlos, ‘The Unstable Institution’, in Marincola, Paula (ed.), What Makes a

Great Exhibition?, [Philadelphia: Philadelphia Exhibitions Initiative, 2006], pp. 52-61. Further Reading:

o Bishop, Claire, ‘Antagonism & Relational Aesthetics’, October #110, Fall 2004 (MIT Press)

o Nairne, Sandy, ‘The Institutionalization of Dissent’, in Greenberg, Ferguson, Nairne (eds), Thinking about Exhibitions, (London and New York: Routledge, 1996), pp. 387-410.

o Ward, Frazer, ‘The Haunted Museum: Institutional Critique and Publicity’, in October #73, Summer 1995 (MIT Press).

• Bourriaud, Nicolas, Relational Aesthetics, (Paris: Les Presses du Réel, 2002), pp. 7-40 Coursework: AR911 – for students on ALL CCS MA degree programmes. (deadline: 4pm Monday 10th May, 2010 [week 32]). You are asked to write a Critical Review of an exhibition of your choosing. You must include reference to other reviews in the press, written material produced by the exhibition team, plus reference to texts on museological and/or contemporary curatorial history and theory. (4,000-5,000 words + illustrations)

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AR912-7-AU - MANAGING MUSEUMS, GALLERIES & EXHIBITIONS Autumn Term Lecture/Workshop Series Monday 2-4 Room 6.106 Matthew Poole Office Hours: By appointment in room 5A.110 This series of lectures and workshops introduces and develops key skills and knowledge in the understanding and undertaking of management of exhibition projects and management of museums and galleries. A set of carefully choreographed topics runs throughout the term, timed to coincide with the work being done by the MA Gallery Studies exhibition students for their group exhibition projects. However, more than this, these lectures and workshops are valuable and useful to all students interested in producing exhibitions and projects in their future careers. Visiting speakers, experts in their field, are invited to lead some of the sessions. These are valuable opportunities to meet established professionals who will be able to give you insider tips and knowledge, and they are valuable contacts for the future, so come prepared with good questions! Course content: Week 2 Monday 12th October, 2009, 2-4 pm (Room 6.106) Lecture/Workshop: Audience and Topic - How to prepare an exhibition proposal. [MP] Week 3 Monday 19th October, 2009, 2-4 pm (Room 6.106) Lecture/Workshop: Fundraising & Sponsorship [MP] Week 4 Monday 26th October, 2009, 2-4 pm (Room 6.106) Lecture/Workshop: Finance & Budgets [John Woodall, UoE] [MP] Week 5 Monday 2nd November, 2009, 2-4 pm (Room 6.106) Lecture/Workshop: Loans & Transport. [Rosalie Cass, Chief Registrar, National Gallery, London] [MP] Week 6 Monday 9th November, 2009, 2-4 pm (Room 6.106) Lecture/Workshop: Insurance and Indemnity. [Sandy Rich, Blackwall Green] [MP] Week 7 Monday 16th November, 2009, 2-4 pm (Room 6.106) Lecture/Workshop: Press, Publicity, Marketing & Advertising [MP]

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Week 8 Monday 23rd November, 2009, 2-4 pm (Room 6.106) Lecture/Workshop: Health and Safety in the Gallery Environment. [Maggie Jefferd, UoE] [MP] Week 9 Monday 30th November, 2009, 2-4 pm (Room 6.106) Lecture/Workshop: How to undertake a Risk Assessment & Fire Inspection. [MP] Week 10 Monday 7th November, 2009, 2-4 pm (Room 6.106) Lecture/Workshop: Legal Considerations. [Sarah Andrews, Art Lawyer] [MP] Week 11 Monday 14th November , 2009, 2-4 pm (Room 6.106) Lecture/Workshop: Monitoring, Evaluation, Preparing Results & Analysis for Portfolios and beyond. [MP] Coursework: i) AR912 – for students on MA Curating Contemporary Art, MA Curating Latin American Art, and the MA in Gallery Studies & Critical Curating ONLY (deadline: 4pm Monday 1st February 2010 [week 18]). You will submit a written proposal for either your group exhibition project, or (for those on the MA Curating Contemporary Art) an exhibition project as part of your individual curatorial practice. Please note: for those of you working in groups, this proposal must be written individually, although some source material may necessarily be created collectively by the group. (4,000-5,000 words + illustrations, tables, graphs) ii) AR912 - for students studying on the MA in Gallery Studies with Dissertation ONLY (deadline: 4pm Monday 1st February 2010 [week 18]). Dissertation students will submit an essay on a topic related to the subject of their planned dissertation. NB. Please consult with your tutor before deciding on the topic for this essay. (4,000-5,000 words + illustrations)

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AR915-7-AU HISTORY AND IDENTITY IN LATIN AMERICA: Politics, identity & conceptual art in Modern & Contemporary Art in Latin America. Autumn Term Thursday 11.00-1.00 Room 6.106 Dr. María Iñigo Clavo Office Hours: By Appointment (email: miclavo) Module Description: How Latin America thinks about art and how art thinks about Latin America. This module will take a tour through different political and historical moments in Latin America. We will start by reviewing methodological questions of history and theory in order to develop critical tools in order to analyse Latin America topics. The general methodology of the course will be based on Postcolonial Theory and the revision of Latin American and other postcolonial Histories. Using this perspective, we will revisit some paradigmatic historic art movements: from Muralism and the Mexican Revolution, crossing to the Cuban Revolution of 1959, arriving in fifties Brazil at the time of the shift from Concrete to Neo-concrete art. The latter part of the term will focus on another conception of political art in the Brazilian, Chilean and Argentinean Art movements under the dictatorships during the Cold War: artists collaborating to resist political repression often worked outside and against the institutional frameworks. Two sessions will review key concepts of postcolonial theory and the dialogue between theory and practice within Latin American art. Towards the end of the course we will focus on the Concetualismos del Sur network which has carried out different research projects into Latin American art in the sixties and seventies. At points throughout the term we will review the University of Essex Collection of Latina American Art (UECLAA) using different methodologies developed throughout the module. Each seminar will focus on one historical art movement whilst making connections to other historical moments. We will analyze a relevant text in several seminars in order to review the dialogue between theory and the art works studied. At the same time it will allow us to understand its historical context and the theory debate. This course aims:

• To investigate and better understand the work of selected Latin American artists. • To analyze and debate the main theories and methodologies that have been applied to the

study and explanation of the art of a particular region. • To provide students with opportunities to study works at first hand, from the University

of Essex Collection of Latin American Art. • To introduce the students to a wide range of bibliographical sources. • To encourage students to develop skills in written communication through the critical

reading of essays; and in oral communication through active participation in seminars. Learning outcomes: By the end of the module students should have

• An understanding of the more paradigmatic movements and artist of Latin American Art. • A familiarity with postcolonial key concepts, and the history of identity concepts. • An understanding of the complexity of the relationship between art and politics in the

Latin American context. • Experience of research individually and in groups.

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• An understanding of some of the major debates in art theory. • First hand knowledge of specifics works of art.

Course Content: Week

2. Questioning Identity. Introduction to the idea of “Latin American Art” and key issues and terms: Nation, Mestizaje, Antropofagia, Dependency. Some approaches to the research methodology. Text: Schwarz, R. “National by Imitation”, In Beverly, J. Oviedo, J. And Aronna, M. The postmodernism debate in Latin America. Durham (N.C.), Duke University Press, 1995. Further reading: Amaral, A. Arte para qué? A preocupaçao social na arte brasileira 1930-1970. Sao Paulo. Nobel.1984. Bayon D.(cood) El artista latinoamericano y su identidad. Monte de Ávila editores. Caracas, 1976. Mignolo, W. Local histories/global designs : coloniality, subaltern knowledges, and border thinking. Princeton, N.J. : Princeton University Press, 2000. Silviano S. The space in between: essays on Latin American culture. Durham, NC: Duke University Press, 2001. Traba, M. Dos décadas vulnerables en las artes plásticas latinoamericanas, 1950-1070. México. 3. Art and Revolution in México: from Muralism to “No-objetualismo”

Murals, propaganda and the avant-garde in Mexico. Los Grupos and No-objetualismo in the seventies: Felipe Ehrenberg. Text: “Three Appeals for a Modern Direction to the new generation of American Painters and Sculptor”. Siqueiros, 1921, in Ades, Art in Latin America, 1989 Further reading: Acha J. teoría y práctica no objetualista. Ensayos y ponencias , Caracas, GAN, 1984. Brett, G. “The mural style of Diego Rivera”, in Block, 4:1981 Craven D. “Postcolonial Modernism in the Work of Diego Rivera and José Carlos Mariátegui”. Third Text, 54, pp 3-1 Debroise O. and Cuauhtémoc M. The age of discrepancias. Art and visual culture in Mexico. 1968-1997. Universidad Nacional Autónoma de México. 2008.

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4. Art in Cuba from the Revolution to the Resistance. 2009 is the 50th anniversary of the Cuban Revolution: Pop Art, the artists of the revolution (Meetings in Havana in 1972-73), the Quinquenio Gris, the event Juego de Pelota (1989) and other critical approaches through current art works. Text: Bejamin, Walter, “The author as producer” in New Left Review I/62, July-August 1970. Further reading: Camnitzer, L. The New Art of Cuba, Austin, 1994 Craven D. Art and Revolution in Latin America, 1910-1990, New Haven, 2002. Dugald, S. The Art of Revolution: 96 posters from Cuba, London 1970 Cockcroft, E. “Art and Politics: Cuba After the Revolution: An Interview with Raul Martínez and Marucha”. Art In América, vol. 71. N. 11, 1983. 5. Brazil: from Concrete to Neo-concrete and the No-objet. The first Sao Paulo Biennial. The Ruptura and Frente Groups. Concrete Poetry. The Neo-concrete Group and the theory of the “No-objet”. Text: Campos H. Campos A. and Pigmatari D. “Pilot-Plan for Concrete Poetry.. 1959”. In Ades, A. Art in Latin America (exh cat). London, 1989. Gullar, F. (1959) “Theory of the Non-Object”, in: Mercer, K. (ed.) Cosmopolitan Modernisms, inIVA and MIT Press. Further reading: Amaral, A. UtraModern. The Art of Contemporary Brazil, Washington, 1993. Asbury, M. O Hélio não tinha Ginga. 05/01/2007. http://forumpermanente.incubadora.fapesp.br/portal/administ/revista_ho/ho_asbury/?searchterm=neoconcretismo Brett, G. “A Radical Leap”, in Ades, Art in Latin America, 1989 Gullar, F. “Neo-concrete Manifesto”, In Ades Art in Latin America (exh cat). London, 1989. Morethy Couto, M. F. Por uma vanguarda nacional. Campinas, Universidad de Campinas. 2004 Oiticica, H. Aspiro ao grande labirinto. Rio de Janeiro, Rocco, 1986. 6. Around ´68, Dictatorship in Brazil: from New Figuration to Conceptual (political) Art. Hot Pop and the roll of the body in Frederico Morais. Mario Pedrosa and the dilemma surrounding Pop Art. Resistance against repression around ´68 during the state of emergency. Text: Morais, F. “Contra a arte afluente- O corpo é o motor da obra”. En Continete Sul/Sur. I Bienal de Merco Sul en Porto Alegre 1997. Further reading: Brett , G. Transcontinental: an investigation of reality: nine Latin American artists. London, Verso, 1990 Peccinini D. Figurações. Brasil anos 60. São Paulo, Edusp/ instituto Cultural Itau. 1999. Morethy Couto, M. F. Por uma vanguarda nacional. Campinas, Universidad de Campinas. 2004 Gullar, Ferreira. Cultura Posta em Questão. Rio de Janeiro, Civilização brasileira. 1965. Reis, P. Exposiçőes de arte : vanguarda e política entre os anos 1965 e 1970. Tesis doctoral http://dspace.c3sl.ufpr.br/dspace/handle/1884/2397?mode=simple 7. Around ´68, Dictatorship in Argentina: from Di Tella to Tucuman Arde Resistance against repression and resistance against imperialism within art circuits. Tucuman Arde movement, El siluetazo, CAYC. Text: Tucuman Arde. In Listen Here Now! Argentine Art of the 1960s, New York 2004

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Further Reading: Longoni A, And Mestman M. Del Di Tella a Tucuman Arde, (en el Cielo por Asalto, Buenos Aires, 2001). Bruzzone, G. El siluetazo. Adriana Hidalgo editora. Colección: Los Sentidos /artes visuales. 2008 Listen, here now! Argentine art of the 1960s: writings of the avant-garde, edited by Ines Katzenstein. New York: Museum of Modern Art, c2004. Giunta Andrea, Avant-Garde, Internationalism and Politics: Argentine Art in the Sixties. Duke, 2007. 8. Dictatorship in Chile: From Private Actions to CADA. When Pinochet came to power artists went underground or into exile and found innovate ways of expressing their concerns. From acts of individual resistance to the collective expression in CADA. Text: Foucault, M. “Lecture 1, 7 January 1976” in Power/Knowledge. Selected Interviews and Other Writings 1972-1977, ed. Colin Gordon, London, 1980, pp 78-92 Further reading: CADA. Cómo matar el arte y de paso cambiar el mundo. Entrevista, Revista La tercera, Noviembre de 1982, Santiago Lazzara, MJ. Chile in transition: the poetics and politics of memories, Florida, 2006 Moltava, M.J. The political artits in Chile 1975-1990: A comparative study of Eugenio Dittborn and Arturo Duclos. PhD thesis, 2008, dept library Richard Nelly Margins and Institutions: art in Chile since 1973, Melbourne. Art and Tex, S.1986. Richard, Nelly. “Women´s art practices and the Critique of Signs”. In Beyond the fantastic. Contemporary art criticism from Latin America. The MIT Press. Cambridge, Massachusetts, 1996. Rosenfeld Lotty. “Operations (Work in progress) Chile-England (1996)” en Corpus Delicti. Performance Art of the Americas, ed. Coco Fusco, Routledge, London 2000. 9. Postcolonial gazes in Brazilian art on seventies: key concepts Coloniality, Internal Colonialism, Nation, Transmodernity (Dussel), Coloniality of Power, Coloniality of Knowledge (Quijano), cultural difference (Bhabha) and colonial difference (Mignolo), translation/transcreation, to name is to fight. Brazilian colonial difference vs. colonial difference in Brazil. Text: Dussel, E. “Eurocetrism and Modernity”, In Boundary 2 Magazine (1993) pp. 20-23; also in Beverly, J, Oviedo, J y Aronna, M. The Postmodern Debate in Latin America. Durham (N.C.), Duke University Press, 1995.

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Further reading About the Group Modernity/coloniality/decoloniality: http://www.decoloniality.net/?q=node/5 Bhabha Homi. The Location of Culture. London: Routledge, 1994. Mignolo, W. Local histories/global designs : coloniality, subaltern knowledges, and border thinking. Princeton, N.J. : Princeton University Press, 2000. Fanon, F. The wretched of the Earth. London: PEguin Books, 1990. Interview with Walter Mignolo, Iñigo Clavo, María. Sánchez-Mateos Paiagua, Rafael, Sobre pensamiento fronterizo y representación. http://bilboquet.es/B8/PAG/waltermignolo.html Moacir, Anjos. Babel. Unpublished text (photocopy provided) 10. Postcolonial Gazes II: Latin American and Caribbean Art. Provincializing Europe (Chakravarty), New Mestiza (Alzaldúa), the latin doesn’t finish in Latin America, Borderline Thinking (Mignolo), Criollization of the world (Glissant), Ghetto Entropy (Meireles), Hibridity (Bhabha/Canclini). Text: Silviano S. “Latin American Discourse: The Space in-Between”, in The space in between: essays on Latin American culture, Silviano Santiago. Durham, NC: Duke University Press, 2001. Further reading Anjos, M. Local/global. Arte em trânsito. Rio de Janeiro. Jorge Zahar editor. 2005 Alzaldúa, G. Borderlands/La fronteras: The New Mestiza. Estrecho dudoso (exh. cat.), TEOR/éTica. San José de Costa Rica. 2006 F(r) icciones. (exh. cat.) Mesquita I. y Pedrosa. A. Museo Nacional Centro de Arte Reina Sofía 2001 Infinite Island: Contemporary Caribbean Art, (exh. cat.) Brooklyn Museum. New York. 2008 Glissant, Ed. Caribbean discourse: selected essays. Charlottesville: University Press of Virginia, 1989. 11. Conceptualismos del Sur: a Revision of Sixties and Seventies Art. Reviewing various projects of this current network of researchers: “artistic militancy and commitment in Colombian aesthetics: the Taller 4 Rojo workshop and political alternatives in seventies art”, “documents and materials of No-objetualism, Avant-Garde and experimentation archive in Peru (1965-1975)”, “the siluetazo images and other creative’s strategies in the Human Rights movement in Argentina” “Tzantzismo: art and politics in Ecuador in 1968”, “Cildo Meireles and Frederico Morais Archives” , “Alternative artistic network: the visual poetry and mail art editions (1965-1986)” “Gillermo Deisler Archive”, “Writings of Roberto Jacoby”, etc… Text: Davis, F. Critical Practices and Strategies of Appropriation in the Work of Juan Carlos Romero. (photocopy provided) Coursework Sample Essay Titles: 1. Write an essay on Brazilian Concrete and Neoconcrete art with particular reference to the work of Hélio Oiticica. 2. Discuss the Tucuman Arde movement and the relationship between art and politics in Argentina in the 1960s.

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AR933-7-SP RESEARCHING ART HISTORY: Methodology and Theory Spring Term Tuesday 2.00 – 4.00 p.m. in room 4S.628 Professor Neil Cox and Professor Margaret Iversen Course Description: This core course is designed for MA students and first year PhD students (who have not done the course or an equivalent elsewhere). There are three sections to the course: the first part introduces the basic challenge of doing research work (finding your topic!) and with information and discussion of the sources for information and ideas that will feed it. We shall also explore what skills this kind of academic writing requires and talk about techniques for planning your research and your written dissertation. The second part is all about reading – a fundamental skill that is really best learnt by doing lots of it, but which also requires a strong sense of discrimination, a sense of what you are reading for. In this part of the course we shall read some texts that have been chosen deliberately for their difficulty! We shall also look at examples of skilled writing in art history, and discuss what makes those texts so effective. The last three weeks of the course cover the practicalities of being a research student in the Department, including an explanation of the whole process of monitoring your work and of the final examination. (Separate one-off sessions will be arranged in the summer term for presentation training and for career development.) The course will be assessed with two assignments: a 2,000 word bibliographical research report, and a 2000 word essay on one of the texts covered in part two, preferably one that engages with your area of interest in art history. Course Content: Week

PART I – RESEARCHING AND WRITING

16. What is Research? Writing an MA dissertation, an MPhil or a PhD thesis: the plan, alternative structures. What is the difference between taught MA dissertations and research theses? Finding a topic. Developing the plan and finding a voice: Critical Thinking, Speculation, Evidence and Argument. Using your Supervisor.

17. Special session in the Albert Sloman Library with Esther Wilkinson, subject specialist librarian in the Bibliography: Albert Sloman Library, Departmental Library and Internet Resources; Research methods: other libraries, archives, museums, private collections, interviews and so on.

18. Funding opportunities for research trips. MA Presentations, Submission. MA examination process, M.Phil/PhD Supervisory Boards (milestones) and The Viva Voce Examination. Examination decisions and what they mean.

PART II – READING, DISCRIMINATING, WRITING

19. How to read and misread– A page of Hegel from Lectures on Fine Art; Lacan, ‘The

Mirror Stage’ (MI) 20. How to Write Great ‘Introductions’ – T J Clark, The Painting of Modern Life; Joseph Leo

Koerner, Durer and the Moment of Self-Portraiture 21. How to Write Great Articles – Leo Steinberg, ‘The Philosophical Brothel’; T. Puttfarken,

‘Caravaggio's Story of St. Matthew’. (MI)

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22. How to read and misread – Heidegger, ‘The Origin of the Work of Art’; Meyer Schapiro excerpt in Preziosi; Derrida excerpt in Preziosi

23. How to read and misread – M. Merleau-Ponty, ‘Cézanne’s Doubt,’; Michel Foucault, ‘Las Meninas,’ foreword to The Order of Things. (MI)

24. Voices: The problem of the cultural difference: Steven F Eisenmann, Gauguin’s Skirt; The problem of the historical object: Fred Orton, Figuring Jasper Johns

25. Voice: Michael Baxandall, ‘The Language of Art History’; T J Clark, The Sight of Death (MI)

COURSEWORK:

1. Bibliographical Research Report 2000 words MAXIMUM – by Thursday 4 February week 18 (SEE BELOW)

2. Short Essay on a text from weeks 19-25 – 2000 words - by Thursday 25 March week 25

(EXAMPLE ESSAY QUESTIONS BELOW) The marks from these two assignments will be averaged to produce an overall mark for the module. Bibliography Course texts for PART II: Michael Baxandall, ‘The Language of Art History’ New Literary History, 10 (1979), pp. 453-465. T J Clark, The Painting of Modern Life: Paris in the Art of Manet and his Followers, (London: Thames and Hudson), 1985, pp.3-22 _______,The Sight of Death, (London: Yale UP) 2006 Michel Foucault, ‘Las Meninas,’ foreword to The Order of Things, London: Vintage, 1994 G W F Hegel, Aesthetics: Lectures on Fine Art, trans T M Knox, (Oxford: Clarendon Press), 1975, vol II. 805-806. J L Koerner, Durer and the Moment of Self-Portraiture in German Art, Chicago: Chicago University Press, 1996 Jacques Lacan, ‘The Mirror Stage’, Ecrits, translated by Alan Sheridan, (London: Norton) 2004, pp.1-7. M. Merleau-Ponty, ‘Cézanne’s Doubt,’ in Galen A. Johnson (ed.), The Merleau-Ponty Aesthetics Reader: Philosophy and Painting, Northwestern University Press, 1993, and Michel Foucault, ‘Las Meninas,’ foreword to The Order of Things. (MI)

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Fred Orton, Figuring Jasper Johns (London: Reaktion), 1994 D.Preziosi, The Art of Art History: A Critical Anthology, (Oxford: OUP), 1998 Thomas Puttfarken, ‘Caravaggio's Story of St. Matthew’, Art History, vol 21 no2 (1998), 163-181. Leo Steinberg, ‘The Philosophical Brothel’, Art News 71, nos 5 and 6, (September and October 1972, pp.22-9 and 38-47; republished in October 44 (Spring 1988) pp.7-74. Steven F Eisenmann, Gauguin’s Skirt (London: Thames and Hudson) 1997 FURTHER BIBLIOGRAPHY WILL FOLLOW IN CLASS First Assignment – Due Thursday week 18 (4 February 2010) Bibliographical Research Report The purpose of this assignment is to provide evidence of your current bibliographical research skills and to give you an early opportunity to have your writing skills assessed. In order to complete the assignment you need to put the training you are having in the main library to good use, including using thesis searches and searches in the various on-line databases available. You may not yet know what your dissertation topic is going to be – in fact that is perfectly healthy at this stage. For this exercise, however, you should attempt to work with an idea that is one of the ones that you are considering for your dissertation topic. You will not be committed to this, but it is important to start testing your interests sooner rather than later, and this exercise will enable you to do that. The Report should consist of:

a) a statement of your chosen field of research or research topic, why you are interested in it, and (where possible) giving a sense of the questions that you are seeking to answer (i.e. what issues is of specific interest, what are to your mind the current gaps in the literature etc). Don’t worry if you cannot answer these questions yet. [no more than 300 words]

b) An analysis, and a summary listing where that seems appropriate, of the range of available sources that you believe are important for your topic (e.g. books, articles, newspaper articles, exhibitions, archives, artists, recordings of various kinds). [no more than 500 words]

c) A detailed and critical analysis of one or two key written sources for your project, evaluating them as potential points of reference for your project [no more than 1200 words].

Second Assignment - Reading and Writing - Due Thursday Week 25 (25 March 2010) Write an essay of no more than 2,500 words on a text or texts discussed in week 19-25. There is a choice of approaches you can take. You can EITHER answer a specific question that will be provided by NC or MI (examples of the kind of question that might be set are given below), OR respond to the more open-ended challenge set out under 2 below. Please make sure that you are explicit when you submit your assignment as to which question you are attempting (i.e. specific title or 2).

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1. Sample Essay Questions

a. Analyse Lacan’s argument in ‘The Mirror Stage’. How do you think these ideas could be

useful in approaching works of art? What problems are involved in applying them in an art historical or art critical context?

b. Is Eddy de Jongh fair to his opponents? c. Discuss one of the four concepts described by T J Clark in his introduction to The

Painting of Modern Life (modernism, class, ideology, spectacle), and consider how you might use this concept in your own work.

d. Compare Puttfarken and Steinberg on the significance of pictorial order in interpreting the meaning of works of art.

e. How does Orton approach John’s Flag? Why does he adopt this strategy?

2. Open-Ended Task

Taking one or more texts studied in this course as your point of departure; write an essay examining a field of art history or works of art that makes self-conscious use of a particular writing strategy.

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AR936 Art, Politics and Ethics - Contemporary Art and Social Responsibility Autumn Term 2009 Matthew Poole Monday 11am-1pm Room 6.106 This seminar series examines art’s social responsibility, analyses the ethical demand that art should be responsible and asks what are the politics and aesthetics of a socially responsible art practice. Many art movements in the 20th Century inherited ideas from Marxist theory. Art practice was seen as integral to the political project of social emancipation. The art object was exploded to reveal itself as a progressive social tool, as having pedagogical, utilitarian, critical, subversive, enlightening and emancipatory functions. By tracing ideas and art works from artists, art critics, and cultural theorists from the latter half of the 20th Century, this course examines how artists and cultural commentators have observed the changing status of 'progress' and the attribution of 'social value' to art practices. Exhibitions and artists’ statements will form a vital component to this course and will be used as a testing ground for primary analysis and discussion. Current exhibitions will also form part of the primary evidence discussed on this course. This module will focus particularly on developments in art from the mid-1960s to the present. We will trace the formations of art’s politicisation during this period. This involves, on the one hand, a study of art as a concrete tool for social change and, on the other hand, a study of art as a subversive practice within society. As such, the seminars will take up and discuss Modernism's "dialectic of enlightenment", that is, the mutually beneficial and problematic consequence for art’s social function. From this point of departure, the seminars will re-examine these concepts of the political in relation to recent art practices in the art of the 1980s, 90s and early 2000s, such as neo-Expressionism in Europe and the neo-Geo in the USA [both dubbed as 'trans-avant-garde']. Course aims: • to show how Marxist and post-structuralist theories have impacted upon the production and

reception of contemporary art. • to promote a critical and historical awareness of the relationship between ideological and

post-ideological discourses. • to encourage critical thinking about the relationship between the work of art and its context. • to introduce students to a number of different approaches to the integration of art history and

theories of visual culture. By the end of the course student will have: • an understanding of key concepts that underpin our appreciation and criticism of

contemporary art. • considered how and why different approaches to art production have been regarded as, to

various extents, ‘political’ and ‘ethical’. • read key texts of Marxist and poststructuralist theory and presented a paper relating to them.

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Week 1: Freshers’ Week Part I. TOTALITY AND CONTINUITY: Week 2: The Frankfurt School [Part I - The Democratised Art Object] Benjamin, Walter, ‘The Work of Art in the Age of its Technological Reproducibility’, in Selected Writings, Vol. 3, 2002. ‘The Author as Producer’, in Benjamin, Understanding Brecht, London: Verso, 1998; also in Benjamin, Reflections, NY: Harcourt Brace Jovanovich Inc, 1978 Week 3: The Frankfurt School [Part II - The Autonomous Art Object] Adorno, Theodor, ‘The Culture Industry: Enlightenment as Mass Deception', in Adorno, T.W., & Horkheimer, M., Dialectic of Enlightenment, Verso, 1979, pp. 120 -167 Adorno, Theodor, ‘On Commitment’, in Ernst Bloch et al, Aesthetics and Politics, Verso, 1977, pp. 177-195 Further Reading: Bürger, Peter, 'The Negation of the Autonomy of Art by the Avant-Garde', in Bürger, P., Theory of the Avant-Garde, Manchester University Press, Manchester/University of Minnesota Press, Minneapolis, MN, 1984, pp. 47-54. Part II. CRITIQUE OF IDEOLOGY Week 4: Critique of Ideology: Institutional Critique & Duplicity Althusser, Louis, ‘Ideology and Ideological State Apparatuses’, in Althusser, Lenin and Philosophy and other essays, NY: Monthly Review Press, 2001, pp. 92-106 Week 5: Aesthetics & Ethics de Duve, Thierry, ‘Archaeology of Practical Modernism’, chapter 8 of Kant After Duchamp, Cambridge, Mass: MIT Press, 1996, p. 427 Part III. RESISTANCE & RADICALITY Week 6: Recuperating the Project of Modernity Habermas, Jürgen, 'Modernity - An Incomplete Project', in New German Critique, #22 (Winter 1981), pp.3-15 Week 7: Contemporary Political Art Foster, Hal, 'For a Concept of the Political in Contemporary Art, in Foster, H., Recodings, (Bay Press, 1990), pp. 139-155 Further Reading: Laclau, Ernesto and Mouffe, Chantal, Hegemony and Social Strategy: Towards a Radical Democratic Politics, London: Verso, 2001, ‘The Category of the Subject’ and ‘Antagonism and Objectivity’, pp. 114-127

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Part IV. REVISIONISM & RESPONSIBILITY Week 8: Post-Modernism: European Trans-Avant-Garde & American Neo-Geo Lyotard, Jean-François, 'Answering the Question: What is Postmodernism?', in Hassan, I. And Hassan, S. (eds), Innovation/Renovation, University of Wisconsin Press, Madison, WI, 1983, pp.71-82 Bonito Oliva, Achille, 'The International Trans-Avant-Garde', in Flash Art International, #104 (1981), pp.36-43 Further Reading: Levine, Sherrie, 'Statement', Style Magazine, (March 1982, Vancouver), pp.48 Interview with, Steinbach, Koons, Levine, Halley & Bickerton, 'From Criticism to Complicity', in Flash Art International, #129 (1986), pp.46-9 Week 9: Social Emancipation: Inclusion & Exclusion Rancière, Jacques, The Politics of Aesthetics (short essay), found at http://theater.kein.org/node/99 Badiou, Alain, ‘Fifteen Theses on Contemporary Art’, LACANIAN INK 22 - Fall issue on Limite [paper give at The Drawing Center, NYC, December 4, 2003], found at http://www.lacan.com/frameXXIII7.htm Further Reading: Bourriaud, Nicolas, Relational Aesthetics, Les Presses du Réel, 2002, pp. 7-40 Bishop, Claire, ‘Antagonism & Relational Aesthetics’, October #110, Fall 2004 (MIT Press) Inventory, On Art, Politics, and Relational Aesthetics, Inventory Vol 5, Nos. 2 & 3, [Manchester: Cornerhouse, 2005 pp.166-181] Kester, Grant, Dialogical Aesthetics: A Critical Framework for Littoral Art, Variant Magazine # 9, [can be found at Variant online archive at: www.variant.randomstate.org/9texts/KesterSupplement.html] Rancière, Jacques, The Politics Of Aesthetics: The Distribution of the Sensible, translated by Rockhill, Gabriel, Continuum, 2004 Rancière, Jacques, ‘The Emancipated Spectator’, Artforum, March 2007, pp. 271-280 Weeks10: Student Presentations Weeks 11: Student Presentations Suggested movements & artists for consideration: Dada & Surrealism, Alexander Rodchenko, The Bauhaus, Joseph Beuys, Hans Haacke, Joseph Kosuth, Marcel Broodthaers, Gerhard Richter, Anselm Kiefer, Francesco Clemente, Sandro Chia, Jeff Koons, Sherrie Levine, Peter Halley, Ashley Bickerton, Vanessa Beecroft, Rirkrit Tiravanija, Liam Gillick, Thomas Hirschorn, Santiago Sierra.

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Coursework Sample Essay Questions: PLEASE NOTE: You will be required to create your own essay titles. Essays must relate to at least one of the texts [preferably more] studied in class. You can, however, choose any artist, art work(s) or other cultural product to explore/investigate/analyse, and should research and refer to other reading matter that you have come across in your won research. The following sample essay titles are for guidance only. You can discuss plans for and get advice about possible essay topics and titles with your tutor either in class or in individual tutorials.

“Repetition and Time in the Work of Gerhard Richter” “Allegory and Melancholy: Walter Benjamin’s Conceptions of History” “Iconophilea and Iconoclasm in Appropriation Art” “Roni Horn’s Sculture and Photography and the Image-Object”

(4,000-5,000 words + illustrations) (deadline: 4pm Monday 1 February, 2010 [week 18])

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AR951-7-SP KEY ISSUES IN CURATING: CONSERVATION, DESIGN AND DISPLAY Spring Term Wednesday 9.00-11.00 in room 6.126A Matthew Poole Office Hours: by appointment in room 5A.110

This series of lectures and workshops introduces a range of subjects crucial to the understanding of and successful execution of exhibitions, from branding the identity of a project through to designing and building displays and planning and organising educational activities for the exhibition project. The series of lectures and workshops is carefully scheduled to coincide [as much as possible] with work that the exhibition group will be undertaking for their project, but the series delivers a valuable set of skills and knowledge for all students on the Gallery Studies courses. Visiting speakers, experts in their field, are invited to lead some of the sessions. These are valuable opportunities to meet established professionals who will be able to give you insider tips and knowledge, and they are valuable contacts for the future, so come prepared with good questions! Course Content: Week 16 Wednesday 18th January, 2010, 9-11am (Room 6.126a) Lecture/Workshop: Graphic Design. [David Jury & John Ellis, Colchester Institute] [MP] Week 17 Wednesday 20th January, 2010, 9 -11am & 2-4pm (University Gallery) Lecture/Workshop: Display, security, lighting and environmental controls [i.e. preventative conservation] in the University Gallery, plus Object Handling & installation skills [with Jessica Kenny & James Barnard]. Week 18 Wednesday 3rd February, 2010, 9-11am (Room 6.126a) Lecture/Workshop: Conservation & Restoration [Robert Entwistle, Ipswich Museums] [MP] Week 19 Wednesday 10th February, 2010, 9-11am (Room 6.126a) Lecture/Workshop: Exhibition Design [Callum Storrie, exhibition designer and architect] [MP] Week 20 Wednesday 17th February, 2010, 9-11am (Room 6.126a) Lecture/Workshop: “Ekarving” – how to write an exhibit label & other textual material for exhibition displays. [MP]

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Week 21 Wednesday 24th February, 2010, 9-11am (Room 6.126a) Lecture/Workshop: Introduction to Museums Association and its Roles – a) Museums – Framework and Context, and b) Museums Ethics (MP & Museums Association Officer) Week 22 Wednesday 3rd March, 2010, 9-11am (Room 6.126a) Lecture/Workshop: Interpretation, Access, Education 1 [MP] Week 23 Wednesday 10th March, 2010, 9-11am (Room 6.126a) Lecture/Workshop: Interpretation, Access, Education 2 [MP] Week 24 Wednesday 17th March, 2010, 9-11am (Room 6.126a) Lecture/Workshop: Interpretation, Access, Education 3 [Catherine Butcher, Commissions East] [MP] Week 25 Wednesday 24th March, 2010, 9-11am (Room 6.126a) Lecture/Workshop: Interpretation, Access, Education 4 [Doris Pearce, Adult Programmes, Tate Britain] [MP]

Coursework: AR951 – for ALL CCS students (EXCEPT those on the MA Critical Management & Curating) (deadline: 4pm Monday 10th May, 2010 [week 32]) You will write an essay answering one of the questions listed below. These questions ask you to consider the fusion of historical and theoretical knowledge and analysis with the practical concerns of exhibition making and management. (4,000-5,000 words + illustrations) 1 How does a study and/or critique of different kinds of collecting help to enrich our

understanding of museums, how they were formed and how they have developed?

2 Take as examples one or two museum objects or artefacts (but not a painting) and analyse

the different ways in which the objects in question might be studied, interpreted and displayed. What might be the underlying purposes of different kinds of interpretation or display?

3 What would you consider to be an example of a “traditional” gallery hang (paintings,

graphics, works on paper)? Have there been, historically, different ways of displaying these kinds of material; if so, how did they evolve, and what respects have newer

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museums (e.g. Tate Modern) reacted against more traditional ways of displaying “fine” art?

4 Taking two works of art of historical importance from the past 100 years as case studies,

examine how these works challenged & problematised, informed and developed the conventions of their respective modes of production and exhibition. Discuss the ways in which you believe the two works retain [if at all] their significance and potency if shown in a contemporary context.

5. The museum has frequently been declared dead or represented in ruins. But at the

beginning of the twenty-first century it continues to boom. With visitor numbers soaring and more and more museums being built, what does the future hold? You are invited to design a museum capable of meeting the challenges of the new millennium. How do you define its tasks? What will it show and/or collect? How will identify and communicate with its audiences? And what part does it play in society as a whole? Consider these and other questions as you design your museum of tomorrow.

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AR952/AR953/AR958 – JOINT PROJECTS [EXHIBITION CURATORIAL METHODOLOGIES] (for MA Critical Management & Curating, MA Curating Contemporary Art, MA Curating Latin American Art, and MA Gallery Studies & Critical Curating students only) Autumn & Spring Terms Workshops/Self-Study/Ongoing Project Assessment Tutor: Matthew Poole & Dr. Michaela Giebelhausen Room: to be announced – primarily tutorial support in Room 5A.110 This module delivers a series of group and individual tutorials and seminars to guide and assist with the production of the final assessed coursework for MA Critical Management & Curating, MA Curating Contemporary Art, MA Curating Latin American Art, and MA Gallery Studies & Critical Curating students. This module has no formal timetable and is delivered at strategic points throughout the year to assist you with the production of your exhibitions, other curatorial projects, your research journal and portfolio of proposals, and/or your final evaluative report/portfolio. Group and individual tutorials and seminars will be held, and can be requested by you, at any point throughout the academic year. a) MA Critical Management & Curating: Your final assessed coursework will consist of a detailed fieldwork project that investigates the management and workings of one or more museum, gallery, or other cultural organisation. Beginning in the Autumn Term, and continuing throughout the year, you will be researching a coherent body of notes, writing, interviews, images, reviews, etc. that will document the development and focussing of your investigation into your chosen case-study/case-studies. In the Summer Term you will be required to make a presentation, in the form of your choosing that presents the findings, analysis, and evaluation of your fieldwork [AR953 Individual or Joint Fieldwork Project & Presentation]. The entire project will then be written up in a detailed report that you will submit at the end of the Summer Break [AR952 Exhibition Portfolio (Individual) Fieldwork Project Detailed Evaluative Report]. (deadline: Week 50 – Monday 13 September 2010) b) MA Curating Contemporary Art: Your final assessed coursework will consist of two parts: i) a research journal; and, ii) a portfolio of project proposals [together known under the single course code: AR958 - Final Assessed Project: Research Journal & Portfolio of Project Proposals]. Beginning in the Autumn Term, and continuing throughout the year, you will be researching a coherent body of notes, writing, images, reviews, etc. that will document the development and focussing of the ideas, topics and issues central to your practice as a curator. These ideas, topics, and issues will form the core of the content of your proposals for curatorial projects, which will be written up in the portfolio you submit at the end of the Summer Break. (deadline: Week 50 – Monday 13 September 2010)

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c) MA Curating Latin American Art: MA CLAA students, either individually or in small groups of up to six, will devise, plan, project-manage and produce an exhibition created from the resources and holdings of UECLAA (the University of Essex Collection of Latin American Art), which will be exhibited in the University’s Albert Sloman Library during the Summer Term. At the start of the Autumn Term, you will work, either individually or together in your groups, to research and develop a proposal for the intended exhibition that is presented formally at the end of the Autumn Term to staff, colleagues and the Directors and staff of UECLAA. From this point, you will arrange loans, organise fundraising, plan and execute a press strategy, design the exhibition display, planning educational activities; essentially organising every aspect of the exhibition project. Your group will then install and manage the exhibition and any other activities surrounding it, and then de-install and project-manage all post-exhibition activities, such as returning loaned works, etc. Once the exhibition is completed you will individually write up an evaluative report portfolio that details and analyses all aspects of the exhibition from conception to completion [AR952 Final Assessed Project: UECLAA Exhibition/Project & Individual Report/Portfolio]. (deadline: Week 50 – Monday 13 September 2010) d) MA Gallery Studies & Critical Curating: MA GSCC students, in small groups of up to six, will devise, plan, project-manage and producing an exhibition that will be exhibited in the University Gallery at the beginning of the Summer Term [AR953 University Gallery (Group) Exhibition/Project]. At the start of the Autumn Term, you will work together in your groups to research and develop a proposal for the intended exhibition that is presented formally at the end of the Autumn Term to staff, colleagues and the University Gallery Director. From this point, your group will arrange loans, organise fundraising, plan and execute a press strategy, design the exhibition display, planning educational activities; essentially organising every aspect of the exhibition project. Your group will then install and manage the exhibition and any other activities surrounding it, and then de-install and project-manage all post-exhibition activities, such as returning loaned works, etc. Once the exhibition is completed you will individually write up an evaluative report portfolio that details and analyses all aspects of the exhibition from conception to completion [AR952 (Individual) Evaluative Report Portfolio]. (deadline: Week 50 – Monday 13 September 2010) NB. This deadline is the same for submission of dissertations by MA GDwD students also.

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2.4 - Guidelines on Preparing and Submitting your Final Assessed Coursework Portfolios/Journals/Reports

The following notes and guidelines are intended to help you achieve the best possible result in the production of the final assessed written element of your chosen MA degree. [MA Gallery Studies & Critical Curating students will find at the end of this section a brief note regarding the group portfolio, which is not assessed.] The date for submission of all final assessed coursework (including: personal exhibition reports/portfolios, research journals, project proposals portfolio, and fieldwork reports) is: Week 50 – 4pm on Monday 13 September 2010 PLEASE NOTE: Extensions can only be granted under exceptional circumstances. Make sure

you allow time to cater for computer problems, which are not considered grounds for an extension. If you require an extension due to exceptional circumstances you MUST see a member

of staff and fill out an Extenuating Circumstances form well before the coursework submission deadline.

Two copies of your personal exhibition reports/portfolios, research journals, project proposals portfolio, and fieldwork reports (depending on which MA degree you have chosen) must be submitted for assessment in September, together with all outstanding coursework essays. However, one of these remains your property and can be collected from the Department after the final Board of Examiners has met towards the end of November 2010 – or, in the case of overseas students who have returned home, it can be posted to your home address. If you think you might be called for job interviews in the meantime, you might want to consider keeping a copy: it is an important document of your work and might well impress a potential employer. Note: it will not be possible for you to “borrow” the two original copies of your portfolio between mid-September and late November, when assessment is taking place.

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Notes for MA Curating Latin American Art, and MA Gallery Studies & Critical Curating Students working in groups: The purpose of your individual evaluative report/portfolio is to: a) document the exhibition on which you worked, and b) show the nature and extent of your individual contribution to what was, after all, a group

project. Regarded as a document of the exhibition, your portfolio should provide enough information to enable even a reader who did not see the show and perhaps knows nothing about it to form a vivid picture of: • what it looked like, • how it was conceived, • what its aims were, and • how successfully these aims were realised. The information you provide should not only be verbal or descriptive; it should also consist of plans, notes, diagrams, photographs and any other visual material you consider relevant. You should give a clear and honest account of the progress of the initial idea from conception to realisation. You should also describe any changes of mind, difficulties or disappointments encountered along the way, what problems arose and how they were addressed, and any compromises that were reached. Describing what you learned in the process of the production of the exhibition is a central part of this evaluative report, so consider that what you have learned from problems or mistakes may be more illuminating and valuable than the evident successes of the exhibition project. However, don’t forget to pat yourselves on the back when it all goes well! Regarded as a record of your own individual contribution, your portfolio should give a more detailed account of the particular area(s) of work for which you were personally responsible. If you assumed responsibility for two or more areas, describe them both/all. How did your efforts contribute to the success of any particular activity (e.g. press, public relations, design) and how did that activity contribute to the success of the project over all? Do not worry if documents or other material (e.g. press releases) are repeated in your colleagues’ portfolios; given that the exhibition was a group project, this will inevitably be the case. On the other hand, the concept of the exhibition, the progress of the project and your own personal contribution to it must be described in your own words, not “lifted” and copied from some communally agreed statement. There is no specified word length for the individual evaluative report portfolio, but it should be roughly the same size/length as a normal MA dissertation [10,000-15,000 words]. Some of the important documents relating to the exhibition – for example, elements of the catalogue, some draft and final press releases, draft and final budgets, etc. – should be included, even if these were not your own special areas of responsibility. However, more extensive documentation (e.g. copies of correspondence) should be reserved for the group portfolio (see below), which serves as – among other things – a kind of appendix, or filing cabinet for the exhibition documentation. We purposefully do not provide a model or template on which you should base your portfolio, as there are many possible ways in which the material might be arranged. (For example, you might choose to start with photographs and other documents relating to the opening of your exhibition,

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and then work backwards from that point.) Note, however, that your examiners would normally expect to find in your portfolio clearly identifiable sections documenting the main areas of activity relating to the exhibition, among them design, budget, press and public relations and education, etc. Finally, you will be assessed on the standard of presentation, which means not only a clear layout and a logical succession of topics but also careful proofreading and accurate spelling. Remember: you may well find yourself showing this document to someone at a job interview and they will definitely not be impressed if they spot spelling mistakes, pages wrongly numbered, missing captions or general lack of care.

________________

The purpose of the Group Portfolio: As a courtesy to the department and to future generations of Gallery Studies students, we also ask you to submit a group portfolio, which is not assessed (although we do read it carefully). This should be a collaborative undertaking with the main aim of serving as a permanent record of your work together as a group on your exhibition project. It is an ideal place to put more extensive documentation (for instance, copies of correspondence or examples of press coverage). Obviously, it will also duplicate a good deal of the material originally intended for your individual evaluative report portfolios. If you want to submit other evidence such as a video or website material relating to your exhibition, this should likewise be appended to the group portfolio. If a video or a website is entirely the work of one or more named individuals, rather than a general group effort, the names of those individuals and the extent of their collaboration should be clearly stated. The group portfolio, including any appended material, is not returned to you but remains the property of the department and is held in the CCS Students’ Room.

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2.5 - Preparation and Submission of Dissertations:

[MA in Gallery Studies with Dissertation students ONLY]

PLEASE SEE THE POSTGRADUATE STUDENT HANDBOOK FOR GUIDELINES ON THE WRITING OF DISSERTATIONS The date for submission of M.A. dissertations is 4pm on Monday 13 September 2010. Extensions can only be granted under exceptional circumstances. Make sure you allow time to cater for computer problems, which are not considered grounds for an extension. If you require an extension due to exceptional circumstances you MUST see a member of staff and fill out an Extenuating Circumstances form well before the coursework submission deadline. Three copies are required: one for the External Examiner and one each for the two Internal Examiners. After your thesis has been examined, the Department will keep the top copy and the other two copies will be returned to you. When preparing your dissertation remember that: 1. The text should be between 10,000 and 15,000 words, not counting bibliographies, footnotes, captions to plates and other paraphernalia. 2. It should be typed on A4 paper, double-spaced, one side of the paper only, wide left-hand margin and with the pages clearly numbered. 3. Quotations must be clearly indicated and acknowledged. 4. Footnotes may be at the foot of the relevant page or grouped at the end, along with the bibliography and other reference material. 5. Photocopies are acceptable for the second and third copies, as long as they are easily legible. 6. As to the binding, the plastic binding we do in the Department is cheap and very good, or card covers with slide-on-spine or spiral backing are perfectly acceptable for examination copies. However, we would prefer proper hard-back binding, which keeps the dissertation in better condition, for one copy of your dissertation, which will be kept in the Departmental Library. The Registry has a list of binders. The University Library will send dissertations to their binders for hard-back binding but this takes a minimum of two weeks (and costs £25 a volume). BE SURE TO LEAVE THE ADDRESS TO WHICH YOUR RESULT SHOULD BE SENT

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3. Curatorial Workshop ‘Paper Curating’

[ALL CCS students] Date: Week 6 – Wednesday 11th November 2009, from 2pm [room to be confirmed]

Introduction: An essential part of the designing and execution of exhibitions/curatorial projects is planning and experimentation followed by rigorous self-criticality. A useful tool to make this process more ‘real’ is to undertake ‘Paper Curating’ exercises. This involves building a scale-model of the exhibition [or a virtual model with electronic media, if available] and trying out different configurations of the exhibition/project within the model. Another way of doing this is to make rough models or schema of the artworks or objects at life-size and to try them out in the actual space in which they will be exhibited. Both of these approaches give you the freedom to experiment quickly and easily without having to worry about the safety of your loaned artworks or artefacts. Undertaking ‘Paper Curating’ exercises before the ‘real’ installation period of any exhibition makes the final installation much smoother, quicker and far less stressful. This special curatorial workshop will see all students working together in small groups to plan and design ‘paper’ exhibitions. This exercise will NOT be assessed and you should look upon it as a chance to try-out great flights of fancy if you wish. Instructions: i) Working well in advance of the date given above, in groups of 3 or 4 select one of the titles below and construct a plan for an exhibition. Either incorporate your choice from the list below into a larger title, or add a sub-title/strap-line to your selection from the choices below. Or simply use the title as whole from the list below. ii) Decide on a structure for your exhibition/project and any artworks or artefacts to be included in your exhibition and then make photocopies, or simple models [in the case of sculptures] of these. iii) Using a scale model of the University Gallery, place the photocopies/models of art works where you would hang them [as if you had them for real], and sketch out with masking tape the approximate size of the works/objects on the walls and/or floor of the model. iv) You will then be asked to explain the rationale for your choices of objects and the thinking behind the decisions you have made in structuring the exhibition/project and any placing of the works in relation to one another. v) The whole group will then discuss and constructively critique each other’s ‘paper’ exhibitions and presentations. Titles

Minky Manky Gambler Wish You were Here Days Like These Facts of Life The Return of the Real Here and Now Image and Idol A Picture of _________

. This is What We Call Progress

. Schh …. . Rewind . Stepping In and Out . Earth & Fire . Seeing Things . Give & Take . Breathless . A Grand Design . Time Zones . Brilliant

NB. Remember come prepared not only with your plans and model, but with strong and rigorous rationales for your decisions and choices!

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4.1 - Placement Information 2009/10 Over a number of years, excellent working relationships have been established between the Department of Art History & Theory and a supportive network of museums, galleries and associated institutions through the continued success of the work experience placement scheme.

NB. Placement work is COMPULSORY for MA Gallery Studies with Dissertation students. For other CCS students wishing to undertake a placement this is voluntary and will be arranged in a different manner as detailed below.

MA Gallery Studies with Dissertation students will: • Spend TWO separate periods each of 10 days minimum (compulsory period) in two registered museums, galleries or associated institutions, • Work as a member of a professional team, • Meet professionals, make contacts, gain knowledge of collections, exhibitions and/or cultural services

You will be required to: • Be professional in your work: remember you are an ambassador for the course, and the reputation of the course influences the attitude of employers who, in the future, will be looking at your job applications. • Submit a placement report [1,000 words minimum – mandatory but not assessed].

Please note: 1. We will try to match your skills/interests as closely as possible with the institutions that have agreed to be a part of the placement scheme. Your Course Director will send you the application form by e-mail and you should send it back to them filled-in via e-mail. These applications will be judged by the same criteria that employers use, and a system of ‘the best applicants get first choice’ will apply. And remember - print out and save on disk a copy of your completed form for yourself! 2. For students arranging their own placement, it is vital to the cohesion of the placement scheme that we are kept informed at all times of the steps that you take and of your placement whereabouts. This avoids embarrassing unprofessional repetitions and cross-overs, etc. Please consult Matthew Poole in these matters and send all contact details of the person(s) you deal with at the gallery/museum/organisation to him as soon as possible.

OTHER CCS STUDENTS wishing to undertake a voluntary placement will NOT be processed through the placement scheme, but can be given advice by course tutors on this. Although the MA GSwD Students will have

priority in the allocation of placements, we will advise you and support you in any applications you make to a host organisation following contact that you must initiate. For this you DO NOT need to fill out the placement forms, but

can arrange a tutorial to discuss possible options for a self-initiated placement. NB. If you are hoping to gain employment in the museum/gallery field upon completion of your MA, we recommend placement work. Nothing can match actual experience in a real museum/gallery environment. In addition, several students who have undertaken placement work have in the past been offered short-term contracts following completion of their projects.

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4.2 - Placement/Internship Procedures Application forms will be emailed to MA Gallery Studies with Dissertation students at the beginning of the autumn term. November 2009 Brief meeting/interview with MA GSD Students and Course Director to discuss potential suitable host organisations. Followed by individual advice sessions with MA GSCC Students on voluntary placements. From December 2009 Course Director to initiate contact with host organisations for MA GSD Students. MA GSD Students to then make initial contact with host organisations once successful contact has been made [application letter and CV, plus follow-up to arrange interview]. All students must organise interviews with host organisations. At these interviews you will negotiate the terms of the placement including the length of the placement, how it is structured (for example will it be 2 days a week for several weeks or a single block of time), what kind of work you would like to undertake, etc. We are here to give you all advice on how to perform at interviews, so please feel free to ask for a tutorial on this. Importantly, all students must report to the Course Director the outcome of any applications (whether successful or not). April-August Placements undertaken. September Placement Reports submitted with other coursework. Notes: MA GSD Students may be able to undertake placements during the Christmas break where appropriate and possible. This would be negotiated in the first instance with your Course Director. We advise dissertation students that having both placements completed by the end of the Summer term is more beneficial to the timetabling of your research and the planning of writing your dissertation, i.e. the summer is left free for you to write! Other CCS Students who voluntarily apply to galleries or museums are advised to plan a single placement for the Easter break or preferably for the summer break, rather than in term time. This leaves you free during the term to concentrate on the substantial workload that the exhibition projects will naturally provide.

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4.3 - Health and Safety Considerations: Placements

The University seeks, as far as possible, to ensure the safety of its students. This includes giving advice on matters of health and safety to students who are engaged in work off-campus, if that work constitutes a prescribed part of their course, as in the case of M.A. Gallery Studies with Dissertation students who are required to undertake a work placement in a museum or gallery. If your placement has been arranged with a museum or gallery registered under the museum registration scheme administered by Re:source (formerly the Museums & Galleries Commission), this registration will already have inquired into their Health and Safety arrangements and ensured that they meet legal requirements. Whilst you are on your work placement, your safety is the legal responsibility of the museum or gallery under various regulations concerning safety at work. The regulations also impose a duty on you to co-operate with the museum or gallery on matters affecting safety. In particular, you should carry out any tasks given to you in the manner in which you are instructed; you should not go off and “do your own thing”. When you arrive, you should expect to be given details of the emergency procedures. These should cover aspects of what to do in case of fire and calling for help in the case of an accident. The gallery, if it employs more than 5 persons, should have a safety policy and it would be helpful for you to see a copy of this. You should also, as necessary, receive instruction regarding any specific hazards relating to the gallery such as use of chemicals, working at height and moving heavy objects. If you have any safety concerns relating to your work at the gallery, you should in the first instance raise the matter with the gallery’s management. If you fail to obtain a satisfactory response, you should without delay contact your Course Director at the University of Essex. These notes are not intended to be comprehensive, only to give an indication of the best approach to safety matters.

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5.1 - Important Notes on Use of Resources in The Department of Art History & Theory

1. USE OF COMPUTER & PRINTING ON LETTERHEAD Printing on Department letterhead paper is not permitted in the University Labs but you can save on disc any work prepared on computers in the Labs and print it on letterhead on the computer in the CCS Students’ Office. 2. CONTACT TELEPHONE NUMBER Please ensure that you give the Art History Graduate Administrator’s Office telephone number (01206 872953) as the contact number for exhibition work and, of course, keep Myra Offord informed of what is planned, such as events advertised on leaflets, etc. Also, make sure Libby Armstrong, Departmental Administrator, is informed of all events and activities. Alternatively, if you have your own number to quote that is fine; however, we do have an answerphone in the AHGA office so the phone is always going to be answered. Your CCS Students’ Office telephone number appears on the Gallery Studies letterhead that you will be using for correspondence. 3. TELEPHONING AND FAXING At the beginning of the year you will receive a telephone pin number from our Graduate Administrator, Myra Offord, that allows you to use any telephone in the university but will log all your calls to one account. The cost of these calls must come from your exhibition/project budget. Libby Armstrong, Departmental Administrator, receives all the statements for the telephone accounts and you can keep a track of the cost of your calls by asking her for an update. There is also a fax machine in the department (see Myra for details), which you can use – this is also paid for out of your budget. For an up to date estimate of the unit costs of phoning and faxing please see Myra or Libby. 4. PHOTOCOPYING You can purchase photocopy cards from Myra or Libby that work in the photocopier to be found in the Department Library. See the Postgraduate Student Handbook for further information on this. 5. UNIVERSITY LETTERHEAD AND ENVELOPES Letterhead and envelopes may be obtained from Myra, but must be paid for from your exhibition/project budget. Again, please keep a record of any payments of this kind. Charges: Letterhead - £0.06 per sheet Envelopes - £0.30 per envelope

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5.2 – Insurance for Exhibitions/Projects

IMPORTANT: The University can arrange insurance cover for exhibitions provided a list of the items is sent to the Finance Section, and receipt of the list has been acknowledged well in advance of the date of the opening of the exhibition, giving a brief description and value of each item. INSURANCE COVER CANNOT BE ARRANGED IF VALUE EXCEEDS THOSE SHOWN BELOW: i.e. single item value £50,000/total value of items in exhibition £200,000.

Cover: In addition to the time the items are being exhibited in the University Gallery, the policy has been extended to cover items when they are being transported from the Lenders to the University and returned to the Lender.

Transit of Works of Art: If the transit of the items is carried out by (a) professional carrier or (b) in a student’s vehicle the following conditions apply: • Excludes theft from an unattended vehicle • Excludes damage following inadequate packing • Excludes scratching, bruising, denting, wear and tear • That the condition of the Art Work is recorded before it leaves the Loaning Gallery (i.e. before it becomes the University’s responsibility) The following also applies to transit in (b) above: - • At least one other student must accompany the driver • £15,000 limit in total any one trip • £8,000 limit any one item • That there is an excess of £1,000 The transit of items in excess of the values listed above must be carried out by professional carriers.

Works of Art in the University Gallery: Cover is provided up to a maximum single item value of £50,000 or total value of all items of £200,000. However, within these limits there will be a premium charge (0.5% p.a. pro rata) for single item value above £25,000 or when the total of all items exceed £100,000. You must discuss all insurance arrangements with Jessica Kenny, University Gallery Director and Mike Osborn, the University’s Treasury and Insurance Accountant.

Basis of any Settlement: In the event of a claim the Insurers will pay either the cost of repair OR the replacement cost – whichever is less. Mike Osborn, the University’s Treasury and Insurance Accountant must be notified promptly of an occurrence, which may give rise to a claim. If you have any queries please contact him on extension 2173.

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Appendix A

MAIN CCS READING LIST

This bibliography lists titles that are specifically related to the fields of museology and contemporary curatorial practice. These titles are available in the Departmental Library and/or in The Albert Sloman Library. Please remember your study will most likely take you beyond the disciplines of museology and contemporary curatorial practice and a huge range of titles for other disciplines, including for example Art History & Theory, Philosophy, Political Philosophy, Sociology, Literature, Film, Theatre, etc., are available both in the Departmental Library and in The Albert Sloman Library.

NOTE: THE FOLLOWING LIST IS ARRANGED CHRONOLOGICALLY, SECTION BY SECTION. IT CONSISTS MAINLY OF BOOKS PUBLISHED DURING THE PAST TWENTY YEARS, WITH THE EMPHASIS ON MORE RECENT LITERATURE, ALTHOUGH ONE OR TWO OLDER TITLES HAVE BEEN RETAINED (WHERE USEFUL). IT IS NOT EXHAUSTIVE. MUSEUM HISTORY: The Neues Museum Berlin: Conserving, Restoring, Rebuilding Within the World Heritage, Art Stock Books 2009 Alexander, Edward P., Museum Masters. Their Museums and their Influence, Nashville (AASLH) 1983 Altshuler, Bruce, Salon to Biennial: 1863-1959 v. 1: Exhibitions That Made Art History, Phaidon Press, 2008 Bann, Stephen, The Clothing of Clio, Cambridge (CUP) 1984 Bennett, Tony, The Birth of the Museum. History, Theory, Politics, London (Routledge) 1995 Bredekamp, Horst, The Lure of Antiquity and the Cult of the Machine, London (Markus Weiner) 1995 Bronner, Simon J. (ed.), Consuming Visions. Accumulation and Display of Goods in America, 1880-1920 (Winterthur/New York, 1989) Duncan, Carol and Wallach, Alan, "The Universal Survey Museum", Art History Vol.3, No.4, December 1980 Farago, Claire J., & Preziosi, Donald, Grasping the World: The Idea of the Museum (Histories of Vision), Ashgate Press 2004 Giebelhausen, Michaela (ed), The architecture of the museum: symbolic structures, urban contexts, Manchester (Manchester UP) 2003 Hein, Hilde, The Museum in Transition: A Philosophical Perspective, Washington, DC (Smithsonian Institution) 2000 Horne, Donald, The Great Museum, London (Pluto Press) 1984 Hudson, Kenneth, A Social History of Museums, London (Macmillan) 1975 Impey, O. and MacGregor, A. (eds.), The Origins of Museums, Oxford (OUP) 1985 James, Elizabeth (ed.), The Victoria and Albert Museum, London (Routledge) 1998 Lorente, J. Pedro, Cathedrals of Urban Modernity: The First Museums of Contemporary Art, 1800-1930, Aldershot (Ashgate) 1998

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Marstine, Janet (ed.), New Museum Theory and Practice: An Introduction, Maldon MA (Blackwell Publishing) 2005 McClellan, Andrew, Inventing the Louvre: art, politics and the origins of the modern museum, Cambridge (CUP) 1994 McClellan, Andrew, Art Museum from Boullee to Bilbao, University of California Press, 2007 Physick, John, The Victoria and Albert Museum, Oxford (Phaidon) 1982 Pointon, Marcia, Art Apart. Art Institutions and Ideology across England and North America, Manchester (MUP), 1994 Price, Sally, Paris Primitive: Jacques Chirac's Museum on the Quai Branly, Chicago University Press 2007 Waterfield, Giles (ed.), Palaces of Art: Art Galleries in Britain 1790-1990, London (Dulwich Picture Gallery) 1991 Whitehead, Christopher, Museums and the Construction of Disciplines: Art and Archaeology in Nineteenth-century Britain, Gerald Duckworth & Co. 2009 Wilson, David M., The British Museum. Purpose and Politics (London, 1989) Wilson, Kristina, The Modern Eye: Stieglitz, MoMA, and the Art of the Exhibition, 1925-1934, New Haven: Yale University Press 2009 Worden, Gretchen, Mutter Museum: Of the College of Physicians of Philadelphia, Blast Books 2002 Yanni, Carla, Nature's Museums: Victorian Sciences and the Architecture of Display, Princeton Architectural Press, new edn 2005 Zulaika, Joseba, Guggenheim Bilbao Museoa: Museums, Architecture, and City Renewal, University of Nevada, Reno 2002 EXHIBITIONS: Altick, Richard, Shows of London, Cambridge, MA (Harvard UP) 1978 Coombes, Annie E. S., Reinventing Africa: national culture and popular imagination in Late Victorian and Edwardian England, New Haven/London (Yale UP) 1994 Dunlop, Ian, The Shock of the New, London (Weidenfeld & Nicolson) 1972 Findling, J. and Pelle, K., Historical Dictionary of World's Fairs and Expositions, 1851-1988 (New York, 1990) Greenberg, Reesa, Ferguson, Bruce W. and Nairne, Sandy (eds.), Thinking about Exhibitions, London (Routledge) 1996 Greenhalgh, Paul, Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World's Fairs, 1851-1939, Manchester (MUP) 1988 Haskell, Francis, The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition, New Haven/London (Yale UP) 2000 Hoffenberg, P., An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War, Berkeley, CA (California UP) 2001 Leapman, Michael, The World for a Shilling: How the Great Exhibition of 1851 Shaped a Nation, London (Headline) 2001 Libeskind, Daniel, Jewish Museum, Berlin - Between the Lines, Munich: Prestel 1999 Luckhurst, Kenneth W., The Story of Exhibitions, London/New York (Studio Publications) 1951 Mainardi, Patricia, Art and Politics of the Second Empire. The Universal Expositions of 1855 and 1867, New Haven/London (Yale UP) 1987 Rydell, R., Findling, J. and Pelle, K., Fair America: World's fairs in the United States (Washington, DC, 2000)

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Sheehy, Colleen, Cabinet of Curiosities: Mark Dion and the University as Installation, University of Minnesota Press 2006 Taylor, Brandon, Art for the Nation: Exhibitions and the London Public 1747-2001, Manchester (MUP) 1999 Tschumi, Bernard, New Acropolis Museum, New York: Rizzoli International Publications 2009

MUSEOLOGICAL & CURATORIAL THEORY/CURRENT ISSUES: Alberro, Alexander, & Graw, Isabelle (eds.), Institutional Critique and After (Soccas Symposia), JRP Editions 2006 Bann, Stephen and Allen, William (eds.), Interpreting Contemporary Art, London (Reaktion) 1991 (reprint 2000) Barker, E., Contemporary Cultures of Display, New Haven/London (Yale UP) 1999 Baudrillard, Jean, The System of Objects, Verso Books 2005 Bourriaud, Nicolas, Relational Aesthetics, Les Presses du Réel, 2002 Bourdieu, Pierre and Darbel, Alain, The Love of Art. European Art Museums and Their Public, London (Polity Press) 1991 Coombes, Annie E., ‘Ethnography and the formation of national and cultural identities’, in Susan Hiller, (ed.) The Myth of Primitivism, Perspectives on Art, London (Routledge) 1991 Cox, Geoff, & Krysa, Joasia, Engineering Culture: On the Author as the Cultural Producer (DATA Browser), Autonomedia 2005 Crane, S. A., Museum and Memory, Stanford, CA (Stanford UP) 2000 Crimp, Douglas, On the Museum’s Ruins, Cambridge, MA (MIT Press) 1993 Duncan, Carol, Civilizing Rituals: inside public art museums, London (Routledge) 1995 Elsner, John and Cardinal, Roger (eds.), The Cultures of Collecting, London (Reaktion) 1994 Fowler, Peter, The Past in Contemporary Society, London (Routledge) 1992 Fraser, Andrea, Museum Highlights The Writings of Andrea Fraser (Writing Art Series), MIT Press 2007 Genoways, Hugh H., (ed.), Museum Philosophy (Oxford: Alta Mira Press), 2006 Gosden, Chris, Phillips, Ruth, Edwards, Elizabeth (eds), Sensible Objects: Colonialism, Museums and Material Culture, Berg Publishers 2006 Greub, Suzanne and Thierry Greub, Museums in the 21st Century: Concepts, Projects, Buildings, Munich: Prestel, 2nd edn 2008 Harding, A. (ed.), Curating: the Contemporary Art Museum and Beyond, London (Academy Editions) 1997 Hein, Hilde, The Exploratorium. The Museum as Laboratory, Washington, DC (Smithsonian Institution) 1990 Hewison, Robert, The Heritage Industry, London (Methuen) 1987 Janes, Robert R., Museums in a Troubled World, London: Routledge 2009 Karp, Ivan, Museum Frictions: Public Cultures/Global Transformations, Duke University Press 2007 Karp, I. and Lavine, S. (eds.), Exhibiting Cultures. The Poetics and Politics of Museum Display, Washington, DC (Smithsonian Institution) 1991 Lowenthal, David, The Heritage Crusade and the Spoils of History, Cambridge (CUP) 1998 Lowenthal, David, The Past is a Foreign Country, Cambridge (CUP) 1985 Lumley, R. (ed.), The Museum Time-Machine: Putting Cultures on Display, London (Routledge/Comedia) 1988

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MacDonald, Sharon and Fife, Gordon (eds.), Theorizing museums: representing identity and diversity in a changing world, Oxford (Blackwell/The Sociological Review) 1996 MacDonald, Sharon, The Politics of Display: Museums, Science and Culture, London (Routledge) 1997 McClellan, Andrew (ed.), Art and its Publics. Museum Studies at the Millennium, Oxford (Blackwell) 2003 McShine, Kynaston, Museum as Muse. Artists Reflect, New York (Museum of Modern Art) 1999 Marincola, Paula (ed.), What Makes a Great Exhibition?, (Philadelphia: Philadelphia Exhibitions Initiative), 2006 Miles, R. S. and Zavala, Lauro (eds.), Towards the Museum of the Future: New European Perspectives, London (Routledge) 1994 O’Doherty, Brian, Inside the White Cube: the ideology of the gallery space, Manchester (MUP) 1997 O’Neill, Paul (ed.), Curating Subjects (London: Occasional Table) 2007 Pearce, Susan M. (ed.), Interpreting Objects and Collections, London (Routledge) 1994 Pearce, Susan M. (ed.) Museum Studies in Material Culture, Leicester (Leicester UP)1989 Pearce, Susan M., Museums, Objects and Collections: A Cultural Study, Leicester (Leicester University Press) 1992 Pearce, Susan, On Collecting: An Investigation into Collecting in the European Tradition, London (Routledge) 1995 Phillips, David, Exhibiting Authenticity, Manchester (MUP) 1997 Preziosi, Donald, Brain of the Earth's Body: Art, Museums, and the Phantasms of Modernity, University of Minnesota Press 2003 Putnam, James, Art and Artefact: The Museum as Medium, London (Thames & Hudson) 2001 Sandell, Richard, Museums, Prejudice and the Reframing of Difference, London: Routledge 2006 Schubert, Karsten, The Curator’s Egg. The evolution of the museum concept from the French Revolution to the present day, London (One-Off Press) 2000 Selwood, Sara (ed.), The UK Cultural Sector: Profile and Policy Issues, London (Policy Studies Institute) 2001 Serota, Nicholas, Experience or Interpretation: the dilemma of museums of modern art, London (Thames and Hudson), 2000 Sherman, Daniel J., Museums and Difference, Indiana University Press 2008 Sherman, Daniel J. and Rogoff, Irit (eds.), Museum Culture. Histories, Discourses, Spectacles, London (Routledge) 1994 Vergo, Peter (ed.), The New Museology, London (Reaktion) 1989 Wade, Gavin, Curating in the 21st Century, Walsall (New Art Gallery) 2001 Walsh, Kevin, The Representation of the Past: Museums and heritage in the post-modern world, London (Routledge) 1992 Weil, Stephen E., Rethinking the Museum and Other Meditations, Washington, DC (Smithsonian Institution) 1990 Williams, Paul, Memorial Museums: The Global Rush to Commemorate Atrocities, Berg Publishers 2007

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INTERPRETATION/EDUCATION/VISITOR RESPONSES:

Anderson, David, A Common Wealth: Museums in the Learning Age, Edinburgh (The Stationery Office) 1999 Bellow, Corinne (ed.), Public View. The ICOM Handbook of Museum Public Relations, Paris (ICOM) 1986 Bicknell, S. and Farmelo, G. (eds.), Museum Visitor Studies in the 90s, London (Science Museum), new ed. 1999 Communicating with the Museum Visitor. Guidelines for Planning. Royal Ontario Museum, Toronto 1976 [note: still in print, and still useful] Falk, John H. and Dierking, Lynn D., Learning from Museums: Visitor Experiences and the Making of Meaning, Nashville, TS (AltaMira Press) 2000 Falk, John H. and Dierking, Lynn D., The Museum Experience, Washington, DC (Whalesback Books) 1992 Hein, George E., Learning in the Museum, London (Routledge) 1998 Hooper-Greenhill, Eilean (ed.), The Educational Role of the Museum, London (Routledge) 1994, new/revised 2nd ed. 1999 Hooper-Greenhill, Eilean, Museums and the Interpretation of Visual Culture, London (Routledge) 2000 Hooper-Greenhill, Eilean, Museums and the Shaping of Knowledge, London (Routledge) 1992 Hooper-Greenhill, Eilean, Museums and their Visitors, London (Routledge) 1994 Kalay, Yehuda, New Heritage: New Media and Cultural Heritage, Routledge 2007 Merriman, Nick, Beyond the Glass Case, Leicester UP, 1991, new ed. London (London University Institute of Archaeology) 2000 Moffat, H. and Woollard, V., Museum and Gallery Education: a Manual of Good Practice, Edinburgh (The Stationery Office) 1999 Museums are for People, Edinburgh (Scottish Museums Council) 1985 Parry, Ross, Recoding the Museum: Digital Heritage and the Technologies of Change (Museum Meanings), Routledge 2007 Sandell, Richard (ed.), Museums, Society, Inequality, London (Routledge) 2002 The American Museum Experience: In Search of Excellence, Edinburgh (Scottish Museums Council) 1986 Tallon, Loic, & Walker, Kevin (eds.), Digital Technologies and the Museum Experience: Handheld Guides and Other Media, AltaMira Press 2008 Watson, Sheila, Museums and Their Communities (Leicester Readers in Museum Studies) 2007 MUSEUM/GALLERY FINANCE & MANAGEMENT:

Braathen, M., The Price of Everything...: Perspectives on the Art Market (Whitney Museum of American Art) 2008 Gray, Charles M., & Heilbrun, James (eds.), The Economics of Art and Culture, Cambridge University Press, 2001 Frey, Bruno, Arts and Economics: Analysis and Cultural Policy, (Routledge) 2007 Janes, Robert R., & Sandell, Richard, Museum Management and Marketing 1, (Leicester Readers in Museum Studies), Routledge 2007 Marty, Paul F., Museum Informatics (Routledge Studies in Library and Information Science, 2008) Rentschler, Ruth, Museum Marketing: Competing in the Global Marketplace, Butterworth Heinemann Press, 2007 Robertson, Iain, Understanding International Art Markets and Management, Routledge 2005 Robertson, Iain, & Chong, Derrick, The Art Business, Routledge 2007

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Thornton, Sarah, Seven Days in the Art World, Granta Books 2008 Thompson, Don, The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art, Aurum Press, 2008 Velthuis, Olav, Imaginary Economics: Contemporary Artists and the World of Big Money, NAI Press 2005 Velthuis, Olav, Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art (Princeton Studies in Cultural Sociology), Princeton University Press, 2007 MUSEUM METHODS/BEST PRACTICE: Belcher, Michael, Exhibitions in Museums, Leicester UP 1990 Buck, R. A. and Gilmore, J. A. (eds.), The New Museum Registration Methods, 4th ed., Washington, DC (American Association of Museums) 1998 Burke, R. and Lister, D. (eds.), Museum Security and Protection, London (Routledge) 1993 Cassar, May, Environmental Management, London (Routledge) 1994 Dean, David, Museum Exhibition: Theory and Practice, London (Routledge) 1996 Edson, Gary and Dean, David, The Handbook for Museums, London (Routledge) 1994 Edson, Gary, Museum Ethics, London (Routledge) 1997 Hall, Margaret, On Display. A Design Grammar for Museum Exhibitions. London (Lund Humphries) 1987 Kavanagh, Gaynor (ed.), Museum Languages: Objects and Texts, Leicester (Leicester UP) 1991 Keene, Suzanne, Managing Conservation in Museums, Oxford (Butterworth-Heinemann) 2nd ed. 2002 McClean, Daniel and Schubert, Karsten (eds.), Dear Images. Art, Copyright and Culture, London (ICA/Ridinghouse) 2002 Mecklenburg, Richard, and Merrill (eds.), Art in Transit. Handbook for Packing and Transporting Paintings, Washington DC (National Gallery of Art) 1991 Miles, R.S. et al., The Design of Educational Exhibits, London (Routledge), rev. edn 1998 Serrell, B., Exhibit Labels: an Interpretive Approach, California (AltaMira Press) 1996 Sixsmith, Mike (ed.), Touring Exhibitions. The Touring Exhibitions Group’s Manual of Good Practice, Oxford (Heinemann) 1995 Thompson, John M.A. (ed.), Manual of Curatorship (new ed.), Oxford (Heinemann) 1992 Thomson, Gary, The Museum Environment, Oxford (Heinemann) 2nd ed. 1986 Velarde, Giles, Designing Exhibitions, Aldershot (Ashgate) 2nd rev. ed. 2001 Wienand, P. et al., (eds.), A Guide to Copyright for Museums and Galleries, London (Routledge) 2000 PERIODICALS/SERIAL PUBLICATIONS:

A number of organisations publish proceedings of conferences, special reports or serial publications. On legal issues see, for instance, the Proceedings of the Art-Law Centre, Geneva (Schulthess Fachbücher, Zurich/Centre du Droit de l'Art, Genève) – in particular, the following volumes: Vol. IIIThe Free Circulation of Works of Art, 1993 Vol. IV Works of Art in the European Union, Legal and Practical Aspects, 1994 Also useful are the “Guidelines” and reports published from time to time by the Association of Independent Museums and by the Museums & Galleries Commission, for example: Association of Independent Museums, Guidelines 8: Designers and Small Museums, 1984 Association of Independent Museums, Guidelines 14: Museum Collecting Policies and Loan Agreements, 1988

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Special reports of the Museums & Galleries Commission: Museum Travelling Exhibitions. Report by a Working Party, 1983 Museum Professional Training and Career Structure. Report by a Working Party, 1987 The National Museums: The National Museums and Galleries of the United Kingdom, 1988 Museums and Galleries Commission, A History of the Commission, 1931-1987, 1988 Museums Matter, 1992 In 2000, the Museums & Galleries Commission became Resource (or re:source: the Council for Museums, Archives and Libraries). Apart from its annual reports and a great deal of specialist information is available on its website (www.resource.gov.uk), it also distributes – usually free of charge – a number of extremely useful “one-off” publications such as the “Disability Portfolio” (London: Resource: 2003), many of which are held in the Art History Department Library. In addition, the Albert Sloman Library has all of the following key periodicals: AIM Bulletin Art in America Artforum Art Monthly Art Review Basic Museum Bibliography Contemporary [formerly Contemporary Visual Arts] International Council of Museums News International Journal of Cultural Property International Journal of Museum Management and Curatorship Museum (ICOM) Museum Abstracts Museum News Museum Practice Museum Studies Library Shelf Museums Bulletin Museums Journal October Variant Note: the following series, although marketed as a periodical under the title New Research in Museum Studies, in fact consists of a succession of independent anthologies, published at somewhat irregular intervals, each of which deals with a particular theme or topic: Susan Pearce (ed.), New Research in Museum Studies: An International Series: Vol. I Objects of Knowledge, 1990 Vol. II Museums, Economics and the Community, 1991 Vol. III Museums and Europe 1992, 1992 Vol. IV Museums and the Appropriation of Culture, 1994 Vol. V Art in Museums, 1995 Vol. VI Exploring Science in Museums, 1996

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Appendix B

M.A. GALLERY STUDIES & CRITICAL CURATING - PAST EXHIBITIONS

2008-09

SOCIALLY ACTIVE Rachael Baum Vivian So Hyun Choi Helena Copsey Sue-Na Gay Grace Zihua Lui Sara Taylor 2007-08

YOURS, MINE, OURS Nikki Arnold Melissa Blanchflower Myra Brooks Elena Chatziantoniou Sarah Fairclough Anupama Prakash Charikleia Savastou 2006-07

REALITY UNDONE Sarah Clementson Eva Ledaki Efsevia Papavergou Victoria Rookyard Maria Tidball Binz 2005-06

E-MOTIVE Laura Carcedo Carnicero Lydia Gordon Elina Leventaki Caroline Soanes DE-SIGN Leigh Hazzard Ashlee Gross Alex Hugo Flora Chi

PIECES Amy Caiger Hannah Morrison Michelle Deyo Prisca Agueura 2004-2005

GORGEOUSLY REPULSIVE Ann Adams Natalie Creary Laura Earley Abigail Jones MORE THAN MEETS THE EYE Paula Warin Elvira Patruno Jennifer Stoddart Dayle Bechtler Kim Tuley Claire Merton 2003-2004 DUST TO DUST San Bueler Victoria Crump Nathaniel Hepburn Pasco Q Kevlin Alice Sedgewick Mio Suzuki FRAGILE Caterina Badan Christiana Diamesi Andrea Moreno Aguiler Stacy Park Laura Potter Lily Steadman

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2002-2003

THE ABSENT WEARER Marine Boixiere Jill Deedrick Annabelle Hesketh Rosemary Hogwood Roz Patient Suet Ying Isabella Tam Emma Winch FALSE IMPRESSIONS Rachel Brown Jane Fisher Eva-Maria Grosser Philippa Little Hannah McLeod Alison Wallis 2001-2002

YOU ARE HISTORY Anstey Green Janelle Parsons Jacqueline Thomas Amanda Turner Matt Rushby SPECTAREAL: MEDIA IN YOUR MIND Johanna Arnardottir Elli Davaki Kumiko Kibi Daria Koskorou 2000-2001 THE GALLERY: UNCOVERED Kara Chatten Vicky Frewin Megumi Hirabayashi Françoise Lapage Penny Sexton

PIN:WHOLE - An exhibition of contemporary pinhole photography Eleni Ganiti Ann Hayhoe Veslemoy Hollekim Pennie McDowell Katarina Mullerova Heidi Smith 1999-2000 FOR YOUR EYES ONLY Tamsyn Blackman Kate De La Torre Zamora Hee-Jung (Gracia) Kim Bridget Owen Thelma Richardson THIS FLAT EARTH – ART OF THE EAST ANGLIAN LANDSCAPE Yukie Ishiguro Asimina Koukoula Andy Roshay Rachel Woodruff VIBRATIONS: THE SOUND OF ART

(WITH DISTINCTION PASS) Erica Bemporad Eri Muto Federica Onnis Piper Severance 1998-9 RE-THINK PINK Eleni Anthopoulou Marie-Therese Dawes Zoe Douglas Charlotte Heyes Karen Selby Victoria Wheeldon OUT ON A LIMB - Challenging Images of Disability through Contemporary Art Caroline Arno Georgia Kirby Angela Spencer Neil Smyth Kumiko Tsuji

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CABINETS OF CURIOSITY - an inspiration for contemporary art (WITH DISTINCTION PASS) Ruth Battersby Sarah Teale Christine Walentiny Panoyiota Zorbas 1997-8 A PLANT OF CONTENTION -An Exhibition Illustrating the History of Hemp (WITH DISTINCTION PASS) Sara-Jane Heaney Dominique A. Rogers HAMMER & TONGS - British Contemporary Blacksmiths (WITH DISTINCTION PASS) Vassiliki Chatzispyrou Theodora Paissiou Stephanie Peterson Poh-Chyi Su Ratan Vaswani Seungeun Yoo 1996-7 ‘THAT’S THE WAY TO DO IT!’ - THE STORY OF THE PUNCH AND JUDY SHOW (WITH DISTINCTION PASS) Sarah Gilbert Shahla Lowe Crystal Price WICCA - ‘I don’t believe in Witches ... but they exist!’ Belinda Kirkby Michelle Nye-Browne Vana Zafrana 1995-6 STARDUST AND GLITTER (Style with Substance - The Glam Rock Era) Anne Bransford Ramsden Catherine Louise Southon Emma Victoria Frances Ward

FACE VALUE (The Unveiling of...the Odd One Out) Susan Lorraine Abraham Katherine Bruce (Angela) Bang Eun Kim Pieter Lokker James Matthew Steward 1994-5 ADORNING THE BRIDE Marguerite Katherine Evans Ursula Jane Coles Sarah James Alexa Catherine Day PERFUME, CAPTURING THE ESSENCE Vanessa Twidle Annie Roxburgh Estelle Jakeman Alexandra Apostolidou Julia Bazley TRADE WINDS (WITH DISTINCTION PASS) Graham Thompson Tessa Hore Alkistis Halikia Catherine Pei-Hung Shih 1993-4 DREAMS OF THE DRAGON - VISIONS OF CHINA AND JAPAN Anouk Miga Emma Jenkins Ralph Dingle Jessica Cowdy Catherine Bone FERTILITY - IMAGES & ICONS, RITES & RITUALS Adele Roberts Rachel Hudson Fiona Linton Caroline Eason

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THE SILENT PARTNER - RE-VIEWING THE PICTURE FRAME (WITH DISTINCTION PASS) Christine Byron Richard Hill Louise Hazel 1992-3 WISH YOU WERE THERE? Paula Cardwell Vered Gani Marilyn Greene Noriko Nakagawa Alice Pargeter William Rallison Anna Tilghman Hilary Weston 1991-2 CHEERS! Angela Dimitrakaki Chantal Faures Leonie Heywood Andreas Lapourtas Axel Lapp Claudia Madrazo Andrea Merckel BODY ART Jenny Bolton-Clark Julia Davis Kathrin Dube Rachel Norton 1990-1 ‘60S CLASSICS Alex Buck Ottilie Johnson Priscilla Lin Linda MacLeod ALTARS AND IDOLS Sojia Diez-Ruiz

Jessica Kenny Nancy Selenti Delia Tzortzaki MORE THAN STRINGS Emma Bond Martin Bradley Kate Capel-Edwards Karen Mann 1989-90 IN THE PARK...ARTISTS AT WORK Philippa Alden H. Geddes Francesca Meozzini Mark Segal WRITTEN RESISTANCES, VISIONARY VOICES (GRAFFITI) Lorna Harper Yoko Sadaki Justine Westfallen 1988-9 MAGICAL PROPERTIES Christina Ballinger Leah Byrne Carolina Garcia-Romeu Loveday Herridge Alexandra Nikiforidou CONCEPT ‘88, REALITY ‘89 Annie Cooper Françoise Durrance Lisa Thompson 1987-88 DRESSING TECHNOLOGY Joanna Bernstein Liliana Dominguez Philip Long

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Appendix C

M.A. IN GALLERY STUDIES with DISSERTATION – Previous Dissertation Titles

1. Disneyland meets the Museum of London: a discussion of the different factors contributing to recent innovations (Christina Ballinger - 1990)

2. Childsplay: artists’ residencies and workshops (Melissa Barrowcliffe – 2002)

3. Satellite Museums, Branding, and the Globalisation of Culture (Jane Louise Berlin – 1998/9)

4. Why no text panels? How best to make art accessible within the gallery? (Joanne E. Bernstein - 1989)

5. The Bern Kunstmuseum: Policy, Display, Education and its Major Artists (Jane Bolton-Clark - 1993)

6. Designed for Art. An appraisal of recent art gallery extensions in England (Emma Bond - 1992)

7. ‘Going for Broke!’ (Patricia Margaret Bourner - 1997)

8. From Aardvarks to Zooniverses. An Exhibition of Comic Books from Around the World. (Martin Bradley - 1992)

9. Mediations versus Originals? (Alexandra Buck - 1992)

10. A Study of Refurbishments in Five Major British Galleries (Leah Byrne - 1990)

11. Living with Art: An exploration of the 20th century house museum (Kathrin Capel-Edwards - 1992)

12. The East Court at the Victoria and Albert Museum: A study of the history and development of the plaster casts in the European Museums of the 19th Century (Fabiana Cappozzi – 2009)

13. Failing to Cope with Change in the Art Museum Ritual (Carol Christie - 1998)

14. The Use of Light in Public Art Galleries: History and Ideology 1800-2000 (Katharine Cockshaw – 2000)

15. Material Culture Classifications: People First (Ann Cooper - 1990)

16. The democratisation and accessibility of information in the art gallery: the function and role of the label and text panel, and interactive multimedia systems in the communication of information (Roderick J. Davies - 1995)

17. The Psychology of the Collection: The Absence and Presence of ‘Great’ Women Collectors (Julia Davis - 1992)

18. Beyond the Museum and Gallery Walls (Laura Davison – 1998/9)

19. Hidden Resonance. Strategies of Exhibition on the Western Museum and the Japanese Tea Ceremony (J. Emile de Bruijn - Sept. 1996)

20. Fakes and copies on exhibition (Sofia Diez Ruiz - 1992)

21. Exhibiting Art in the National Gallery of Greece: an approach to the collection of prints (Angela Dimitrakaki - 1993)

22. The Expression of Mexican Nationalism through the Museums of Anthropology, History and Popular Cultures in Mexico City (Liliana Dominguez - 1990)

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23. Country House Visiting: Furniture and Furnishings in the Interpretation of the Past (Mary-Brigid Dorning - 1995)

24. Expressionism in Britain. The Story of its reluctant acceptance. (Kathrin Dube - 1992)

25. Are commercial considerations disrupting the delicate balance between museums and the public and eclipsing their role in our society? (Helen Dunstan - 1993)

26. The Spatial Theory and Experience of Picture Hanging (Françoise Durrance - 1990)

27. The ‘Triumph’ of the American Museum: Abstract Expressionism at the Museum of Modern Art, New York (Caroline Anne Eason - 1995)

28. Italian Renaissance Altarpieces, their Framing and Design in the Sainsbury Wing at the National Gallery (Peter Evans - 1993)

29. Storytelling as an Educational Activity in Museums (Chantal Faures - 1992)

30. In Search of a Museography for a Cinema Museum - Research based on the Musee du Cinema Henri Langlois in Paris and the Museum of the Moving Image in London (Christiana Galanopoulou - 1996)

31. Exhibitions of Spanish Art in Britain (Carolina Garcia-Romeu - 1990)

32. Analysis on the Institutionalisation of New Aesthetic and Curatorial Practices from the Time of the Historical Avant-Garde to the Present State of the Art Institution (Daniel Garza-Usabiaga – 1998/9)

33. The Wonder of Collecting … Greek Folk Pottery Items by Minas Avramidis (Irene Giosma – 2002)

34. Ways into the Past Exhibiting Archaeology in Museums (Nickos Gogolos - 1996)

35. Contextualisation and Interpretation: An Evaluation of the Display of Goya’s Black Paintings (Sarah Katherine Goodwin - 1995)

36. From Representation to Participation: The Transition to a Culturally Diverse Museum (Matthew Gould – 1998/9)

37. Museums and Sponsorship (Loveday Herridge - 1990)

38. The Parergonality of Discipline, Discourse, Display Space and Display Design (Jenifer Hoskin – 1998/9)

39. Blurring the Boundaries (Natalie S. Inger - 1998)

40. A proposal for the re-display of the 20th-century Ceramics Collection at the Victoria and Albert Museum (Ottilie Johnson - 1992)

41. Four Case Studies of the Exhibitions of Far Eastern Art (Jeongwon Joo - 1999) Samuel Courtauld 1876-1947: A Question of Taste (Madeline Lindsey Korn - 1995)

42. Classical Greek Ceramics at the Victoria and Albert Museum (Fotini Kostidou - 1993)

43. Towards a Visitor Oriented Management and Interpretation of Archaeological Sites. The Case of Olympia. (Eleni Koukou - 1995)

44. Please Do Not Wake the Dead We’re Just Visiting. A critical analysis of the Greek Prehistoric Collection in the British Museum. (Andreas Lapourtas - 1992)

45. The Private Art Collection of Sir Herbert Read - and “his” Museums (Axel Lapp - 1992)

46. Four Case Studies of Chinese Ceramics in English Museums (Priscilla Han-Chin Liu - 1992)

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47. Symbolism and Meaning in Museum, Gallery and Exhibition Architecture (Philip R. Long - 1989)

48. Analysing the Notion of Visitor Participation Within the Museum and Art Gallery Space: Two Case Studies (Joyce Yu-Chuan Lu - 1995)

49. Children, Art and Museums (Linda L. MacLeod - 1992)

50. Project for a Museum Fundation [sic] Claudia Madrazo - 1993)

51. Forward into the Past! An investigation into the use of live interpretation as a valid interpretative technique for museums heritage centres and historic sites. (Karen Mann - 1992)

52. Interesting Conspiracies: A Study of Current Approaches to Curating Exhibitions of Contemporary Art (Sarah Martin - 1997)

53. An historical perspective of the changing philosophy of display and classification of works or art (Francesca Meazzini - 1990)

54. From “Culture” to “Kitsch”. A look at the role of exhibitions in the making and breaking of ‘Nazi Art’. (Andrea Merckel - 1992)

55. Byzantine Icons: The Museum Meets the Church (Marita Metropoulou - 1995)

56. Art for the People? A study of the relationship between art galleries and communities (Sanna Moore - 1998)

57. The Museology of Protest (Catherine Moseley - 1997)

58. The Art of Exhibition in the Twentieth Century; the Franco-British Exhibition, the Festival of Britain and the Millennium Experience (Eleanor Murkett – 1998/9)

59. Shock of the Old - On Contemporary Art in Historic Sites (Idit Nathan - 1998)

60. The Representation of History in Museums and Heritage Sites (Yasmin Nicholls 2003)

61. Some Aspects on Display (Alexandra Nikiforidou - 1990)

62. Obscenity (Rachel Norton - 1992)

63. Contemporary Arts and Gallery Education (Narumi Okazaki - 1993)

64. Aspects of Africa – The Museums’ Dilemma (Cherry Palmer – 1998/9)

65. The Mexican Experience in Site Museums and the Creation of a Framework (Maria Esther Paredes Solis - January 1997)

66. Temporary exhibitions in Thessaloniki. The Regional Context of Cultural Development. (Chrissy Partheni - 1993)

67. Towards Alternative Spaces (Formal Implications in the Development of the ‘Alternative Spaces’ Phenomenon in the 70s American Art Scene) (Cristina Pimentel - 1995)

68. The Project of the Museum: Some Aspects of Growth and Political Economy (Benjamin Png - 1992-3)

69. A National Museum of Sport in Britain? (Charlotte Prior - 1993)

70. Embracing the Space – 1917-2000. The effect of artists’ use of the gallery in their work. A case-study appraisal. (Keziah Raphael – 2000)

71. Commerce and Art - Corporate Collectors of Art in the UK (Emma Roberts - 1997)

72. Post-Colonialism: Re-thinking the ethnographic museum (Caroline St. George – 2000)

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73. The Armory Show: International Exhibition of Modern Art, 1913 (Lisa Thompson - 1990)

74. A Necessary Elitism? (Neil Thomson - 1993)

75. Visitors’ Voices: The Humanistic Approach to Increasing Visitors’ Participation in Art Museums and Galleries (Tracy Yi-Cun Tsai - 1995)

76. Conceptualising a Museum of Contemporary Art in Athens (Contemporary Art in Greece on the Political Agenda) (Sofia Tsilidou - January 1997)

77. Use it or Lose it – The Growth of the Heritage Industry and Visitor Experience (Olivia Tugwood – 2006)

78. A Sign of the Times - 20th Century Design (Elizabeth Tiffany Twardzik - 1998)

79. Contextualizing Archaeology. A Proposal for the re-display of a Cycladic collection in the National Archaeological Museum in Athens. (Angela-Delia Tzortzaki - 1992)

80. Increasing Accessibility in the Art Museum for the Visually Impaired Visitor (Margaret E. Willoughby - 1996)

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Appendix D

CCS STAFF CONTACT DETAILS:

The following list contains the contact details of the key members of staff associated with CCS MA Degree Programmes. You may contact these members of staff for queries about teaching and coursework, and/or if you experience any difficulties or have any questions about any other aspect of your time with us at CCS. For contact details of other members of staff please refer to the Department of Art History & Theory Student Handbook. Libby Armstrong Departmental Administrator Office hours: 9.00-1.00; 2.00-5.00 Room: 6.132 Telephone: 01206 872200 E-mail: libby@essex.ac.uk Professor Neil Cox Graduate Director, Spring and Summer 2010 (on leave Autumn 2009) Room: 6.127 Tel: 01206 872579 Email: ncox@essex.ac.uk Dr. Michaela Giebelhausen Course Co-Director for CCS MA Degree Programmes & Student Advisor Room: 6.135 Tel: 01206 87 3445 Email: mgiebel@essex.ac.uk Professor Margaret Iversen Graduate Director Room: 6.128 Tel: 01206 873005 Email: miversen@essex.ac.uk

Myra Offord Postgraduate Administrator Office hours: 10.00 - 4.00 Mon - Thurs Room: 6.137 Telephone: (44) (0) 1206 872953 E-mail: mofford@essex.ac.uk Matthew Poole Course Co-Director for CCS MA Degree Programmes Room: 5A.110 Tel: 01206 87 2600 Email: poolem@essex.ac.uk Dr Natasha Ruiz-Gómez Graduate Director, Autumn 2009 Room: 5A.114 Telephone: 01206 872996 E-mail: natashar@essex.ac.uk Professor Peter Vergo Head of Department Room: 6.131 Tel: 01206 873002 Email: pjvergo@essex.ac.uk