Art Exhibition Class

Exhibition Planning &
Gallery Management


Curatorial Design > Digital Cliff Notes




1st Wave, 1500 to 1600s: Guardians

2nd Wave: 1700 to 1800s: Keepers 3rd Wave,1900 to 2000s: Curators
Question Social Role Organizational Role Promotional Role
Method Delegated Responsibility Responsibility to Collect and Catalog Responsibility to Develop and Inform
Vision Local View National Imperative International Reputation
Theory Keeping Things Well Ordered Conveying knowledges Historical and Aesthetic Producing New Knowledges and New Relations
Narrative Cabinets of Curiosity Authority on Artifacts  Co-Producer of Culture

Caring for objects

Sharing Objects Creating Access to New Experiences
Space Basic Formating Demonstarative Fromating Perfromative Formating
Power Private Becoming Public Irrational Collections Becoming Well Organized Rational Collections Becoming Deterritorialized
Politic WonderKrammer and Cultural Preservatiuon Encyclopedic Knowledge and Enlightenment Democratization and Globalization
Dialectic Artisan / Society Court Painter / State Avant-gaurd / Internationalism


Primary Dialect: Thesis: Disorder / Anti-Thesis: Order / Sythnesis: The Orders of Knowledge-Power


Waves of Pyscho-socio-cultural Development: Commons / Richards / Paiget / Aurobindo

Two Dialetic Triads: Thesis, Anti-Thesis and Synthesis, 4th Wave becomes a new first wave.

Curatorial Design: 1st Wave: Guradians, Symbolic (Pre-operational) | Second Wave: Keepers, Conceptual (Pre-Operational) | Third Wave: Curators, Concrete-Operational, (Role Mind) | Fourth Wave: Exhbition Makers/Star Curators, Formal-Operational, (Rational Mind) |

Curatorial Practice: First Wave: Exhbition Makers/Star Curators, Formal-Operational, (Rational Mind) | Second Wave: Collaborative Curator, Pluralistic Mind (Meta-systemic, Planetary Mind) | Third Wave: Collective Curators, Low to High Vision Logic (Cross-Paradigmatic, Higher Mind, Global Mind | 4th Wave Consumate Curator (Illuminiated-Intuitive Para-Mind, Meta-Mind, Transglobal) |




Week 1

Museum Exhibition Planning and Design.

By Elizabeth Bogle.

[  ] Chapter 1: Phases


Week 2

The Curators Handbook.

By Adrian George

[  ] Introduction


Week 3

Exhibiting Cultures: The Poetics and Politics of Museum Display.

Edited by Ivan Karp and  Steven D. Lavine.

[  ] Chapter 1: The Museum as a Way of Seeing. By Svetlana Alpers


Week 4

Who’s Muse: Art Museums and the Public Trust

Edited by James Cuno

[  ] The Object of Art Museums. By James Cuno


Week 5

The Objects of Experience: Transforming Visitor-Object Encounters in Museums.

By Elizabeth Wood and Kiersten F. Latham.

[  ] Chapter 1: Object Knowledge

[  ] Chapter 2: Object Knowledge Framework


Week 6

The Art of Museum Exhibitions: How Story and Imagination Create Aesthetic Experience.

By Leslie Bedford.

[  ] Chapter 1: Exhibitions as Education

[  ] Chapter 5: John Dewey and Art as Experience

[  ] Chapter 6: Creating and Experiencing the Exhibition as Medium


Week 7

Do Museums Still Need Objects?

By Steven Conn

[  ] Chapter 1: Do Museums Still Need Objects?


Week 8

What Makes a Great Exhibition? Questions of Practice.

Edited by Paula Marincola.

[  ] Chapter 1: Show and Tell. By Robert Storr


Week 9

Show Time: The 50 Most Influential Exhibitions of Contemporary Art.

By Jens Hoffman, Hans Ulrich Obrist, Massimiliano Gioni and Maria Lind.

[  ] Introduction: Changing Exhibitions

[  ] Beyond the White Cube

[  ] Across Fields and Beyond the Disciplines


Week 10

Thinking About Exhibitions.

By Bruce W. Furguson, Reesa Greenberg, and Sandy Nairne.


Beyond the Box: Diverging Curatorial Practices

Edited by Melanie Townsend

[  ] Chapter 8: Contemporary Art Practices and the Museum: To be Reconciled at All?


Week 11

Case Study

Exhibition, Design, Participation: An Exhibit 1957 and Related Projects, Exhibition Histories Vol. 7

By Elena Crippa and David Sylvester










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