Curating Inside Out

The details
Art History and Theory
Colchester Campus
Postgraduate: Level 7
Monday 13 January 2020
Friday 20 March 2020
09 January 2020


Requisites for this module



Key module for

MA V35612 Curating,
MA V356PP Curating with Professional Placement

Module description

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 will 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 are 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 nature and 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: what is the museum's future in the virtual age?

Module aims

No information available.

Module learning outcomes

No information available.

Module information

You will be expected to attend all seminars having read ALL the titles in 'seminar reading' on the above lists. It is also expected that you will have read around the subject by looking at other related material. You should come to seminars prepared to speak about the reading and engage in discussion. It may help to make notes beforehand about questions you have, or ideas you wish to discuss.

It is essential that you be prepared to describe and discuss at least one example of your own choosing that relates to the specific subject of each seminar.

The readings listed here as 'seminar reading' can all be found on Moodle. They will be uploaded well in advance of the seminar. You may also be asked to prepare texts other than the ones listed under 'seminar reading'. If that occurs your class teacher will alert you to additional reading well in advance of the seminar.

Learning and teaching methods

1 x 2 hour seminar each week


  • Lind, Maria. (2013) 'Why Mediate Art?', in It's all mediating: outlining and incorporating the roles of curating and education in the exhibition context, Newcastle upon Tyne: Cambridge Scholars Publishing., pp.20-26
  • González, Julieta. (2018) 'Memories of Underdevelopment', in Memories of underdevelopment: The decolonial turn in Latin American art, 1960-1985, Mexico City: Fundación Jumex Arte Contemporáneo., pp.33-48
  • Flatness,
  • Gabrielsen, Stian. (June 14, 2018) 'A Lavvu the Size of a Museum', in Nordic Art Review.
  • Perry, Lara. (©2013) 'How to Be Seen: An Introduction to Feminist Politics, Exhibition Cultures and Curatorial Transgressions', in Politics in a glass case: feminism, exhibition cultures and curatorial transgressions, Liverpool: Liverpool University Press.
  • Morra, Joanne. (2018) 'Approaching Trauma: Working Towards a Politics and Ethics of Art Making', in Inside the Freud Museums: history, memory and site-responsive art, London: I.B. Tauris. vol. 6, pp.142-180
  • Wilson, Mick. (2010) 'Curatorial counter-rhetorics and the educational turn', in Journal of Visual Art Practice. vol. 21 (2) , pp.177-193
  • Ruiz-Gómez, Natasha. (2006-11) 'The (Jean) Nouvel Other: Primitivism and the Musée du Quai Branly', in Modern & Contemporary France. vol. 14 (4) , pp.417-432
  • Kompatsiaris, Panos. (2017) The politics of contemporary art biennials: spectacles of critique, theory and art, New York: Routledge. vol. 23
  • (2018) Let the River Flow. The Sovereign Will and the Making of a New Worldliness, Oslo: OCA.
  • Kwon, Miwon. (c2002) 'The (Un)sitings of Community', in One place after another: site-specific art and locational identity, Cambridge, Mass: MIT Press., pp.138-155
  • Walsh, Catherine E. (2018) 'The Conceptual Triad: Modernity/Coloniality/Decoloniality', in On decoloniality: concepts, analytics, praxis, Durham: Duke University Press., pp.135-152
  • Ward, Dan. (September 21, 2015) 'Flatness: an interview with Shama Khanna', in Rhizome.
  • (2015) The International Handbooks of Museum Studies / 4 volume set, Chichester, West Sussex: Wiley Blackwell.
  • Lichty, Patrick. (c2008) 'Reconfiguring Curation: Noninstitutional New Media Curating and the Politics of Cultural Production', in New media in the white cube and beyond: curatorial models for digital art, Berkeley: University of California Press.
  • Weski, Thomas. (2012) 'Curating/Curatorial: A Conversation between Irit Rogoff and Beatrice von Bismarck', in Cultures of the curatorial, Berlin: Sternberg Press., pp.21-40
  • Morris, Catherine. (2012) 'Six Years as a Curatorial Project', in Materializing Six years: Lucy R. Lippard and the emergence of conceptual art, Cambridge, Mass: The MIT Press.
  • Dubrovsky, Nika; Graeber, David. (2019) 'Another Art World, Part 1: Art Communism and Artificial Scarcity', in e-flux. (102)
  • Sheikh, Simon. (2016) 'Curation and Futurity', in The curatorial conundrum: what to study? What to research? What to practice?, Cambridge, Massachusetts: The MIT Press., pp.152-160

The above list is indicative of the essential reading for the course. The library makes provision for all reading list items, with digital provision where possible, and these resources are shared between students. Further reading can be obtained from this module's reading list.

Assessment items, weightings and deadlines

Coursework / exam Description Deadline Weighting
Coursework   4000 word essay      

Overall assessment

Coursework Exam
100% 0%


Coursework Exam
100% 0%
Module supervisor and teaching staff
Miss Ana Gonzalez-Rueda, email:
Ana Gonzalez-Rueda



External examiner

Dr H Camilla Smith
University of Birmingham
Lecturer in Art History
Available via Moodle
Of 20 hours, 16 (80%) hours available to students:
4 hours not recorded due to service coverage or fault;
0 hours not recorded due to opt-out by lecturer(s).


Further information
Art History and Theory

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