In the framework, each post is clearly titled, maintaining coherence and aligning with course content, showcasing systematic progression of the project and reflection on curating. It covers lectures, seminars, site visits, readings, independent research, and personal project development, mirroring guidance from the toolkit.
Regarding design, your site has an attractive appearance. However, each post shows a lot and arranged in reverse order. Collapsing posts or arranging them sequentially could enhance readability.
In individual posts, you utilize subtitles for organization. Typically, there’s an initial reflection on learning content, followed by subjective insights on personal projects, which ensure clarity and readability. Your thorough referencing, with no omissions, reflects academic rigor. However, more additional content beyond the course material would enhance the depth of your work.
Concerning personal projects, you’ve showcased your creativity and project development, tailoring them around weekly themes. In Week 6, you explored combining publications with street art. Additionally, independent theoretical research is evident, such as sites and street art in Week 8. Further exploration of The World Atlas of Street Art and Graffiti (MacDowall & Schacter, 2023) which presents street art as an archival redefinition of urban space may be beneficial. Moreover, you provide rich evidence of independent research in Week 5, which are highly valuable. Understanding practices of experienced curators is invaluable for project development.
When posting blogs, you often use text paired with images to support the content, such as some examples on Week 4, which develop and support your project well, enhancing the richness of the posts. However, more pictures, especially records of your site visits, observations, and collections of local street art in the UK, would enhance visual engagement. The other sense in which the curator is a selector is by picking out works of significance from the undifferentiated mass of artistic output our times are embarrassed with (Ventzislavov, 2014).
Yet, two aspects merit consideration. Firstly, regarding learning around weekly themes, integrating reflections on personal and group projects would be help. For instance, discussing how field trips about archives in Week 7 contribute to your projects would foster deeper understanding. Combining The Street Art World (Young, 2016) which discusses street art as a cultural archive is a good choice. While your learning outcomes and project progress are evident, more connecting thoughts and discussions might help us think deeply.
Secondly, there’s a dearth of reflection on group discussions and your role within them. Incorporating content about group exhibitions and planning meetings would elucidate their impact on project development and your involvement. For instance, exploring whether others’ advice inspired your project, identifying emerging elements during group discussions, and discussing challenges within a group project context would be highly beneficial.
It’s worthwhile to think further about how to use the Internet medium to present street art, as exemplified by the website design of You and I Don’t Live In The Same Planet (Taipei, 2020) and the gamification of the online exhibition. Internet as an ‘actor’, can partially install meaningful moments of order in the playing field of chaos, or shed a different light on curatorial processes (Egger & Ackermann, 2021).
Reference List:
Egger, B. . and Ackermann, J. (2021) “Meta-curating: online exhibitions questioning curatorial practices in the postdigital age”, International Journal for Digital Art History, (5), pp. 3.18–3.35. doi: 10.11588/dah.2020.5.72123.
MacDowall, L. and Schacter, R. (2023a) The World Atlas of Street Art and graffiti. London: Frances Lincoln.
Ventzislavov, R. (2014). Idle Arts: Reconsidering the Curator. The Journal of Aesthetics and Art Criticism, 72(1), 83–93. https://doi.org/10.1111/jaac.12058
Young, A. (2016a) Street art world. London, UK: Reaktion Books.
You and I Don’t Live In The Same Planet (2020) [Exhibition]. Taipei. November 21, 2020 – March 14, 2021. Available at: https://www.taipeibiennial.org/2020/en-US/Home/Index/0 (Accessed: 25 March 2024).
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