Faculty：

Targeted Student：

Students interested in curatorial studies, exhibition management, and the contemporary art world. The course catersto a broad audience interested in the intersection of art, curation, and the evolving landscape of contemporary artpractices.

Course Credit：1

Lecture Hours：16 hours

（consisted of ___16__ theoretical hours and __0__ practical hours）

CourseLeader：

Name：Lynton Talbot

E-mail：l.talbot@chelsea.arts.ac.uk

Office：+44 (0) 7771 904 706

Mobile：

CourseStaff：

Name：杨丽

E-mail：yangley@whu.edu.cn

Office：02768772048

Mobile：

Course Type：一般通识课程General Course

Related Preview Courses：

Lesson 1: Gathering People Around "Things" in Public Spaces: What is a Curator? What is an Exhibition? Who is the Audience?

•Curator's Role and Tasks in Different Contexts: What does a curator do? What are their main responsibilities? To whom are they accountable? What motivates them?

•Exhibition as a Form of Dialogue and Communication: What are the distinguishing features of an exhibition? How do these concepts interact with the audience?

1.5 hours

Lesson 2: The Emergence of Curatorial Practice and the Development of Conceptual Art

•History of Curatorial Practice and Key Developments in the 1960s Western Art Scene: The relationship between artists and museums as cultural institutions.

•Critical Interaction with Public Cultural Spaces: How did this new interaction lead to a reconsideration of the curator’s role—from librarian, archivist, conservator, caretaker to interlocutor, mediator, and author?

1.5 hours

Lesson 3: Inside and Outside the White Cube

•Cultural Practices in Exhibition Making: The issues surrounding the white cube gallery space.

•The Perceived Neutrality of the White Cube: Historically seen as a neutral architectural space free from background and cultural baggage.

•Exploration and Discussion: Why does the dominance of the white cube persist? What are the emerging alternative spatial mechanisms?

1.5 hours

Lesson 4: The Art Market and Its Connections (Primary and Secondary): Commercial Galleries, Non-Profit Spaces, and Museums

•How Does the Art World Operate?: What are the primary and secondary markets for art?

•Concepts of Value: How do we view the symbolic and economic value of art?

•Roles of Different Institutions: What roles do commercial galleries, art dealers, and non-profit museums play in the art market?

1.5 hours

Lesson 5: What Do Museums Do? Collection, Archiving, Display, and Education

•Key Functions of Collecting Museums: Acquisition policies and ethical considerations regarding digital collections and immaterial works (performance, events, and conversations).

•Examination of Museum Practices: Collection hangs, monographic exhibitions, curated shows, and other models, and their role in questioning contemporary culture.

1.5 hours

Lesson 6: Struggling with Past, Present, and Future: Curatorial Techniques and Critical Engagement

•Origins and Development of Western Museums: From the "Cabinet of Curiosities" to representing nations through cultural artifacts.

•Addressing Imbalances: How has history shaped our present? How do we address racial and gender representation imbalances in national collections?

•Inclusivity in Museums: How do curators ensure museums represent the full spectrum of their communities?

1.5 hours

Lesson 7: Beyond the Exhibition: Extended Curatorial Practices: Public Projects, Events, and Online Works

•The Role of Museums in the Internet Age: How do museums differ from online platforms in terms of gathering people around "things"?

•Comparative Analysis: Differences between physical gallery experiences and online interactions.

•Cultural Institutions' Relevance: The role of public projects, educational initiatives, community activities, and online events in contemporary curatorial practice.

1.5 hours

Lesson 8: Curatorial Practice: Collaborating with Artists and Considering Accessibility

•Practical Aspects of the Curatorial Role: How to communicate with artists? How to find and engage with their work meaningfully?

•Audience Interaction: How to interact with audiences in galleries or museums—press releases, wall texts, labels?

•Commissioning Artists: Fees, funding, and curatorial support.

•Accessibility: Observing museum and gallery practices for accommodating audiences with physical or learning disabilities. How can these practices be standardized for future curatorial roles to serve the public in the most inclusive and convenient manner?

1.5 hours