Curatorial Notes

Thoughts, ideas, concepts, and inspiration of a Curatorial Practice Student.

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Desearch, Postgraduate Journal of Art & Contemporary Culture

The third edition of Desearch has just been released. I submitted my paper in the spring, and got news that it would be published in this issue. 

If you're interested in reading a (slightly shortened) version of the research I conducted into curation at historic sites, what characterizes it, and why it has emerged as a trend, then have a read! 

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Part 4: MA Fine Art and MA Contemporary Curatorial Practice Catalogue.

Introductory text by Andrew Bracey

Design by John Stocker

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Part 3: MA Fine Art and MA Contemporary Curatorial Practice Catalogue.

Introductory text by Andrew Bracey

Design by John Stocker

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Part 2: MA Fine Art and MA Contemporary Curatorial Practice Catalogue

Introductory text by Andrew Bracey

Design by John Stocker

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Part 1: University of Lincoln MA Fine Art and MA Contemporary Curatorial Practice year-end exhibition catalogue.

Introduction by Andrew Bracey

Design by John Stocker

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Dissertation Reflections

My recent lack of posts has been due to the decision to focus on writing and editing my dissertation. However, I have been jotting down reflective thoughts throughout the process, and in response to the many tutorials I had along the way. 

Subtitles:

Prior to this dissertation, I had never really made use of subtitles in writing projects. During my undergraduate degree, it was generally preferred that students write in a flowing manner uninterrupted by headings, since the majority of papers were comparatively short. 

I knew that this dissertation, due to its length, would need the structure provided by subtitles. I began by copying the descriptive points I had included in my initial outline, and over several tutorials, it became clear that they needed to change to better reflect the content and my aims. Rather than being descriptors of each section, I attempted to sum-up or highlight the main idea while piquing the interest of the reader with interesting phrases and juxtapositions. 

Research Questions:

I struggled slightly with the formulation of research questions, as I generally tend to begin thinking about papers with a concrete idea already in mind. However, as the topic of curation within the context of contemporary Holocaust art had not really been studied previously, I was forced to develop my own starting point. I began simply with the question: "What defines the role of the curator in exhibitions of Holocaust art?" 

From there, and as I began reading around the subject, other questions emerged that formed the basis of what my paper explored. 

What differentiates curation here from other contexts?

What does the curator do to disseminate the ideas behind Holocaust-based works?

How do they contribute to scholarship and artistic dialogue within the subject?

General thoughts:

I attempted to balance scholarship and viewpoints from the curatorial field as a whole, with examples from contemporary Holocaust-art exhibitions and theory specific to Holocaust representation. Again, I used first-person interviewing as a method of research that moved beyond existing literature, and had fairly good success with gathering responses from a variety of curators (and one artist). Unfortunately, I did not hear back from several curators who initially responded positively to my requests for interviews.

I think I've done a pretty good job delving into an unexplored research area, but of course there is room for improvement. Greater differentiation between curatorial intent and reception would have been great, but I found that I just did not have the space required to cover it fully. Having the benefit of the additional interviews that did not pan out would have been useful here as well. A complete overview of the sub-field would require book-length, but perhaps the work I've done on this paper will develop further in the future. 

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The MA Fine Art show now has an exciting title. Great things to come...

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This is pretty exciting!

Here's a section about me and the course in the new edition of the LSA&D magazine. I really wasn't expecting a FULL two-page spread, or for a large photo of me to be used, but I think the writing really illustrates what I wanted to achieve, and how the course has helped me get there. Hopefully, this little piece helps potential students become future students!

The artworks featured were from Mondegreen Ekphrasis, and are by artists Linda Hollaway, Andrew Bracey, Diane E. Hall, and Victoria Hall (from top left). 

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Dissertation | Research Questions

Having decided that my MA dissertation topic will be the contemporary curation of art referencing The Holocaust and other difficult subjects, I have begun research with some initial topics and questions: 

The application of historical reading heuristics to exhibitions about the Holocaust. Are some works read as historic documentations depending on their level of realism or approach?

Ethical considerations of the visual representation of atrocity. This is a specific reference to Theodor Adorno's famous and much debated dictum, "To write poetry after Auschwitz is barbaric." 

Where does contemporary curation of these topics fit into the transmission of trauma and/or feelings of catharsis and healing?

Ethical considerations of exhibitionary comparison between unique events (i.e. the Armenian Genocide, Apartheid, the Cambodian Genocide, Rwandan Genocide, conflict in Darfur, Japanese Internment): are these "united through art" or should they be given individual space and respect?

Comparison of exhibition-based work with the primary memorialisation technique of the creation of site specific installations/monuments. 

At this point, I have received initial responses from several curators who have agreed to answer questions about their work, which is encouraging. I will be contacting additional curators who have staged exhibitions dealing with the events mentioned in the points above in the coming days, and will confirm the areas to be explored in my paper based on their responses. 

The literature review is progressing well, and I'm excited to continue on with a topic that is personally significant, and - as far as I've read - un-researched. 

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Exhibition Visit | University of Lincoln BA Degree Show, 2013

I went to the opening of the 2013 Degree Show, Deep Philosophical Thoughts Stole My Bike, on May 31, both as a show of support for the undergrads, but also to check out the work. I was definitely not disappointed. 

The students curated the show themselves, and did an excellent job. I think they were also helped in that regard by the unique opportunity presented by the exhibition site. The university is moving out of the Greestone Building, which is due to undergo extensive renovations. With this consideration, the students were able to do some interesting things with spaces that would have otherwise been unavailable.

The action of moving around the building to view the show was unique, and exciting. There was a great feeling of exploration when installations were discovered behind closed doors, in closets, and other unexpected nooks and crannies. Particularly successful were the immersive works of several artists which took up entire rooms, to name a few: Kay Bisbrown's Do They Sell Prickly Pears in Morrisons?; Stu Burke's Self-Constructed Room; Chloe Leach's Galanthus Nivalis and Narcissus; Corrina Cooper's Unfixed, Unspecified, Unstipulated, and Kirsty Parish's Untitled work. It was also good to see solid 2D working methods being demonstrated. Daniel Bond's exquisite smoke residue works are standout examples of this kind of exploration, but other students using traditional painting media represented themselves well. 

While making my way through the show, several thematic threads running through the body of work (and the artists' statements in the catalogue) became apparent. There were marked interests in ephemerality (both in the presentation of ephemeral works, or the exploration of the ephemeral through the work), and in abjection, making for a very interesting exhibition. In some works, the sensory elements of touch, smell, and sound were used to great effect - particularly in those exploring abjection.

Works referencing the abject included: Charlotte Newcombe's kaleidoscopic images of body parts; Rebecca Steward's sculptural, suggestively filled and stretched pantyhose pieces; Natasha Bisby and Hannah Edwards' joint odorous embryonic installation; Larissa Brennen's taxidermic work; and Rebecca Sargent's exploration of human skin. 

The ephemeral was explored in: Jess Boyd's examination of transitory processes; Daniel Bond's visual recording of smoke effects; Tanith Hindley's film and photographic work; Kirsty Parish's temporary installation of delicately thin, throwaway plastic; and Sam Smith's fleeting light experimentations. Artists who dealt with both ephemerality and abjection include Chloe Leach, who allowed the natural materials in her installation to decay and rot, and Abigail Pannozzo, whose moulds of body parts in frozen bodily-fluids were allowed to melt over the course of the exhibition. 

The show functioned exactly as intended - as a showcase of third-year talent and development. From a curatorial perspective, the works placed in close proximity to each other created interesting and unexpected dialogues, while the spaces for individual installations were well-chosen and highly suited to each work. My only minor critique would be that much of the 2D work seemed to be confined to corridors, and would have benefitted from more integration with larger sculptural works and installation pieces. Overall, an excellent culmination of the achievements of BA Fine Art 2013! Well done to everyone involved, and good luck in all future endeavours!

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Additional Installation Shots | Castle Table Commission

Photos courtesy of Nottingham Castle Museum & Art Gallery, and photographers John Hartley and Anthony Hopwood.

Aislinn Ritchie, Extended Landscapes, 2013. In situ at Nottingham Castle's café. 

Aislinn Ritchie, Extended Landscapes, 2013. 

Aislinn Ritchie, Extended Landscapes, 2013, (detail).

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Dissertation | Initial Thoughts

The following are some of the ideas for dissertation topics that have been floating around in my head:

Curatorial approaches around "difficult" subject-matter. In particular, the curation of contemporary art exhibitions dealing with The Holocaust and other acts of genocide. Many artists and exhibitions have explored painful and controversial events, but it appears that little has been written regarding how curators work within that context. 

The application of heuristics used in history-reading to contemporary art curation within historic sites and museums. This topic would act as a continuation of my research into collaborative artistic-historic projects. As this is a relatively new area of study, additional research and exploration would be beneficial. 

The interpretation debate: perspectives on whether visible exhibition interpretation is beneficial or detrimental. Consideration as to whether subtleties of the curator's thesis are lost without interpretation in the gallery, and the potential for difference between the artists' intention, and the curator's exhibition-specific intention. 

I think the above topics have potential, however, I'm continuing additional research in the coming weeks, and may decide on something completely unrelated. 

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Video tour of the final installation of Mondegreen Ekphrasis. 

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Mondegreen Ekphrasis Group 3 | Victoria Hall

Materiale Metallico, mixed media

" The translation that I interpreted from Diane Hall’s collection of charcoal drawings turned out to be very different to the written artist statement and the original artist’s intentions. The elements that drew me to these works were the frantic movement and energized atmosphere encapsulated within the four drawings.  The ice cold blue and defined lines penetrated my imagination with chills and anticipation. The bold lines swirling and interacting form a whirlwind of energy and movement. However, the soft smudges and smooth gliding corners had an affiliation with a collection of animated robes.

   Within my own work I strived to recapture Diane Hall’s use of sharp movement and chilling use of colour. The reflective sublimation printed aluminium as a medium facilitates the recreation of coolness with the use of blue and silver. The sharp, angulated, serrated edges form a translation of both the anticipation and chill, which I felt when viewing the charcoal drawings. The three dimensional construction allowed the stacking and spilling of the pieces to capture the movement and energy of the piece. 

  When I finally chose to read the artist statement written by Diane Hall to accompany the piece, it was very intriguing to experience the differing translation and subjectivity of an art work."

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Mondegreen Ekphrasis Group 3 | Linda Hollaway

Threads of Control, pen and watercolour on paper

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Mondegreen Ekphrasis Group 2 | Shahira Allen

Straight Around the World, digital illustration 

"My response is to the work of Chutatib Promkul. I loved the way she continued on the theme of looking at the geometric shapes of the original response piece and also how she had incorporated the structure of what appears to be the frame of a building. This got me thinking about the existing iconic buildings around the world and how they stand in all their beauty. I wanted to bring both of Chutatib's elements through in my own piece but with my own take. I have created simplified drawings of 6 iconic structures around the world including: Burj Khalifa in Dubai, the House of Commons in England, the Sydney Opera House in Australia, the Statue of Liberty in The United States of America, the Taj Mahal in Indian and the Eiffel Tower in France only using straight lines. I too wanted to capture the beauty that can be found in structure and straight lines which is why I chose Chutatib's work to inspire my own. I also used the colour red to fill the shapes created when drawing the buildings to reflect on the power of the structures. I love that they are unignored, completely recognisable and that they stand still and rigid in all their glory."

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Mondegreen Ekphrasis Group 2 | Jessica Rawlings

The Perception of Reality, photo-etching