About the Collective Project
This week’s focus was centered on the group’s collective project; we identified the format of the group’s project as an annual art project, so I carried out my research into annual projects.
Firstly, I focused on the Freshfields Art Programme: Annual Exhibition 2022; I learned that the 2022 Freshfields Art Programme annual exhibition is an exhibition of over 90 works on paper over 11 floors. Curated in collaboration with the Freshfields Arts Council and the BAN Networking Group, the exhibition aims to inspire dialogue and personal growth by exploring themes such as the ethics of artificial intelligence, modern culture, climate change, connection, and mental health. In addition to visual art, the exhibition format includes interviews, films, artist talks, workshops, and virtual tours that provide immersive cultural experiences. The mission of the Freshfields Art Project is to use the arts as a catalyst for fostering empathy, understanding, and new perspectives, enriching the work environment by facilitating dialogue, reflection, and growth (Freshfields, 2022).
The website of the Freshfields Art Programme
In the course of the seminar, Ruochen students from our group researched the 2020 Taipei Biennale and provided the theme and structure of the Taipei Biennale, 2020 Taipei Biennale” is co-curated by French philosopher Bruno Latour and curator Martin Guinard, and the curator of public programs is Yi-Hua Lin. While the curatorial team was working on the exhibition, the raging epidemic forced the exchange of people and goods across the planet to a virtual standstill. The fact that this large-scale international exhibition was able to run on schedule makes it all the more valuable and underscores the importance and urgency of its theme – “You and I do not live on the same planet.” The Taipei Biennale unfolds as a group exhibition, encompassing exhibition practices, Prints, collaboration with Eflux Publications, public projects (workshops, theatre, seminars, talk events), guided tours, screenings, projections, and other forms of activity. These formats are helpful for our collective projects and structure.
The website of the 2020 Taipei Biennale
Although the themes of the two annual programs are different, they both raise or address social issues through the arts. What we can learn from the two are their different forms and ways of engagement: the Freshfields Art Project uses a variety of mediums, such as workshops, films, and virtual tours, with the aim of enriching the workplace by integrating cultural dialogue. Taipei Biennale: Offering a holistic approach to cultural engagement, including workshops, screenings, and collaborations, the Taipei Biennale remained focused on public participation despite the challenges posed by the epidemic. They suggest a referenceable direction for the objectives of our collective projects.
References:
Art Acumen. (2022). Freshfields Art Programme: Annual Exhibition 2022. Available at:https://artacumen.co.uk/project/freshfields-art-programme-annual-exhibition/ [Accessed at:10 April 2024].
Art Acumen. (2022). Freshfields Art Programme: Annual Exhibition 2022. [photograph]. Available at:https://artacumen.co.uk/project/freshfields-art-programme-annual-exhibition/ [Accessed at:10 April 2024].
Taipei Biennial. (2020). Guided Tours – Taipei Biennial 2020. Available at: https://www.taipeibiennial.org/2020/en-US/Project/Event_List#guidetour [Accessed at:10 April 2024].
Taipei Biennial. (2020). Guided Tours – Taipei Biennial 2020. [photograph]. Available at: https://www.taipeibiennial.org/2020/en-US/Project/Event_List#guidetour [Accessed at:10 April 2024].
Exploration of individual projects
Selection of exhibition venues
I explored my project further this week, and in terms of site, I wanted the exhibition site to echo the abandoned space, with ECA’s redevelopment plan released this year, which includes a complete renovation of the fire station and stables buildings, I thought placing the exhibition space in the context of ECA’s upcoming redevelopment would evoke a dialogue about the past, present and future. This will not only demonstrate the potential for the reuse of abandoned Spaces but also explore themes of change, rebirth, and innovation in this moment of the Academy’s redevelopment. In terms of feasibility, I plan to make creative use of the construction site, such as working with the art school and the construction team to understand the specific conditions of the site and possible safety restrictions. This can help identify specific locations and ways in which artworks can be displayed, or consider using construction enclosures, temporary structures, or Spaces inside the site as exhibition Spaces. This “under construction” state can itself become part of the creation and presentation of art.
Selection of artworks
in terms of artworks, I investigated the research direction of eca graduates in previous years, and I saw Zishen Wang’s project “Cracks in Development”, which created a space for audiences to experience and explore urban cracks by exploring urban cracks. Wang’s work Whispers of Cracks, and I think it’s possible to create a space where the audience can experience and explore the cracks in the city. The installation can be used as an entrance to guide the viewer into the exhibition, or as the central work of the exhibition, inspiring the viewer to shift from negative to positive emotions.
Zishen Wang, 2023, Whispers of Cracks, [photo]
At the same time, I also saw the works of Cheng Xu. Xu’s project takes abandoned landscapes as a lens to demonstrate the revival of ecological and social values of abandoned Spaces through design and artistic intervention. In my opinion, the display of “Leny Quarry | Revival of an Abandoned Landscape” as a case study is also an effective discussion on promoting the ecological and social value revival of abandoned spaces through design and artistic intervention.
Cheng Xu, 2023, Leny Quarry | Revival of an Abandoned Landscape, [photo].
Exploration of cooperation
In addition, I looked at Edinburgh’s Hidden Doors, which aims to reveal hidden parts of the city and showcase emerging artists, musicians, theatre, and filmmakers. From 2014 to the present, they have developed abandoned Spaces in Edinburgh, such as the Market Street Vaults, the Old Leith Theatre, the former National Cinema Building, the abandoned warehouse of the Granton Gas Works, etc., giving these abandoned Spaces new vitality and color as art Spaces. Miss Fogg wrote of Hidden Door: “A revelation… A community art festival brings revolutionary change and vitality to the community that hosts it.” I am considering contacting the organizers of the Hidden Door Festival or directly communicating with the participating artists to explore the possibility of cooperation. This may include borrowing their work or inviting them to create new work for my exhibition.
References：
Hidden Door. (2023), ‘Hidden Door 2023 wins Creative Edinburgh City award’, Available at: https://hiddendoorarts.org/hidden-door-2023-wins-creative-edinburgh-city-award/ [Accessed at: 30 March 2024].
The University of Edinburgh. (2024), ‘Edinburgh College of Art (ECA)’, The University of Edinburgh. Available at: https://www.ed.ac.uk/estates/campus-development/central-campus/current-projects/edinburgh-college-of-art [Accessed at: 30 March 2024].
Wang, Z. (2023), Whispers of Cracks. [Photograph], Available at: https://www.2023.graduateshow.eca.ed.ac.uk/portfolio/zishen-wang [Accessed at: 30 March 2024].
Xu, C. (2023), Leny Quarry | Revival of an abandoned landscape. [Photograph], Available at: https://www.2023.graduateshow.eca.ed.ac.uk/portfolio/cheng-xu [Accessed at: 30 March 2024].
Content/Structure/Clarity:
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- I commend your citation of Bilbao’s concept in Blog 1, utilising Zarina Bhimji’s artistic work as an example to elucidate how small-scale artistic ventures (SAVOs) offer a more relaxed atmosphere compared to large-scale biennials through the utilisation of colour and light to visually stun the audience.This, in my view, underscores SVAOs’ heightened focus on spatial relationships between presentation methods and the audience [1]. However, SVAOs concurrently possess unique methods of engaging with the public that transcend exhibition production. For instance, The Showroom’s project in London [2] enriches diverse interactions by establishing the penfold medicinal garden.
- In your blog 3, you adeptly employ Smith and Leonari’s theory to assert audience participation as a pivotal curatorial factor. I argue that beyond audience engagement, there exists a greater emphasis on collaboration derived from communities espousing values rooted in community-based infrastructural activism [3]. Further elaboration on the CCA’s Seed Library project [4] could serve to illustrate this point.
- Your adept interpretation of Hou’s concept regarding the direct elicitation of potent emotions through scent, as exemplified by the Tate Sensorium case in Blog 9, is commendable. It would be beneficial to delve into specific sensory modalities, such as the juxtapositional treatment of sound in works like “In the Hold.”. Yusoff also posits the reshaping of themes through sensory experiences [5], wherein art becomes a novel mode of adapting to reality [6].
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- Francis Bacon’s “Figure in a Landscape” (1945) interpreted through edible charcoal, sea salt, cacao nibs, and smokey lapsang souchong tea by Paul A. Young. TATE.
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Individual Project:
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- Personal Recommendations: In discussions within blogs 5, 7, and 8 concerning individual projects exploring abandonment, decay, and rejuvenation in derelict industrial spaces, I suggest referencing Pierre Nora’s “Places of Memory,” which delves into the relationship between individuals and places, as well as Torgeir’s “Industry Heritage and the Ideal of Presence,” which explores the transformation of industrial derelict sites into cultural landmarks or artistic spaces.
- Since the mid-twentieth century, abandoned structures have engendered atmospheres ripe for exploration, with audience involvement being imperative [7]. Consider incorporating audience participation into this project.
- Regarding the selection of artworks, the salvaging and therapeutic potency of archaeological material interventions are noteworthy [8], such as Mark Dion’s “Tate Thames Dig” [9].
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- © Estate of Francis Bacon. All Rights Reserved, DACS 2024. License this image. In Tate Modern. Francis Bacon (1909–1992), Oil on canvas, Support: 1448 × 1283 mm, Frame: 1628 × 1464 × 120 mm, Tate, 1950 (N05941).
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Rigour:
- In blog 7, your assertion regarding the novel presentation of African art classification transcending historical boundaries embodies a method of intertwining the present, past, and future, stretching the confines of archives [10], to comprehend the present and invent the future [11]. You could talk about how art exhibitions can lead to more fair conversations, using Derrida’s theory of archive fever [12] to look at the unstable and contradictory nature of archives. You could also look at things from the point of view of museum information credibility, like how the American museum secrecy regime protects knowledge while strengthening existing power structures [13], to find ways to be more fair.
- You also need to cite two or more specific works that demonstrate ‘nonnormative time’.
- In blog 8, you separately mention how site-specific art can uncover marginal locales. I propose including corresponding artworks for discussion, such as the “Münster Sculpture Project,” initiated in 1997 [14]. Your mention of “The Floating Piers” as extensions of streets increasing interactivity also reflects “media specificity” [15].
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- Untitled (Sculpture for Chemical Institutes), 1987, consists of 35 black sandblasted granite slabs, each 150 x 150 cm, arranged in a 7 x 5 panel formation, measuring 1050 x 750 cm, at LWL-Museum für Kunst und Kultur, Münster.
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Design
- Each article has supporting theoretical citations, corresponding visual images, readable fonts, and unambiguous layouts. Additional information could be added to the images in Blog 1 to enhance respect for intellectual property rights.
Notes contain theoretical books and relevant cases for reference only.
Notes：
[1] Bilbao Yarto, Ana Edurne. Micro-Curating : The Role of SVAOs (Small Visual Arts Organisations) in the History of Exhibition-Making. 2018.
[2] “Communal Knowledge.” The Showroom, www.theshowroom.org/programmes/communal-knowledge.
[3] Fisher Jennifer. (2017) Jeremy Shaw’s DMT. Performance Research, 22 (6), 43 https://doi-org.ezproxy.is.ed.ac.uk/10.1080/13528165.2017.1412648
[4] “Glasgow Seed Library.” CCA Glasgow, www.cca-glasgow.com/projects/glasgow-seed-library.
[5] Yusoff, Kathryn. A Billion Black Anthropocenes or None / Kathryn Yusoff. University of Minnesota Press, 2018.
[6] Davis, Heather, and Etienne Turpin. Art in the Anthropocene : Encounters Among Aesthetics, Politics, Environments and Epistemologies. Open Humanities Press, 2015, https://doi.org/10.26530/OAPEN_560010.
[7] Thea, Carolee., and Thomas. Micchelli. On Curating : Interviews with Ten International Curators / by Carolee Thea. First edition., D.A.P./Distributed Art Publishers, 2009.
[8] Gavin Lucas. “Models of Production and Consumption.” Archaeologies of the Contemporary Past. Routledge, 2001. 33–37. Web.
[9] Tate. “‘Tate Thames Dig’, Mark Dion, 1999.” Tate, 1 Jan. 1999, www.tate.org.uk/art/artworks/dion-tate-thames-dig-t07669.
[10] Venus in Two Acts, pp. 12, 11. warwick.ac.uk/fac/arts/history/research/centres/blackstudies/venus_in_two_acts.pdf.
[11] Laura McMahon, Disordering archives: Onyeka Igwe and Black feminist speculative histories, Screen, Volume 64, Issue 4, Winter 2023, Pages 377–400, https://doi.org/10.1093/screen/hjad036
[12] Falls, Catherine MacArthur. “Installation Art and the Practices of Archivalism by David Houston Jones (Review).” Archivaria 83.1 (2017): 149–153. Print.
[13] Current Anthropology , December 2015, Vol. 56, No. S12, Supplement 12: The Life and Death of the Secret (December 2015), pp. S263-S275
[14] “Matt Mullicans ‘Untitled (Sculpture for The Chemical Institutes)’ (1987) at Its New Site.” Skulptur Projekte Archiv, skulptur-projekte-archiv.de/.
[15] Kwon, Miwon. “Unhinging of Site Specificity.” One Place after Another. United States: MIT Press, 2002. Web.
Your blog delves into all aspects of contemporary art curation, from the use of virtual reality technology and the role of public art in cities to ethical controversies and innovations in exhibition design. Through individual research and case studies that run through the topics of your weekly lectures, your work is not only visually informative but also demonstrates deep insights into project development and exhibition practice. I would like to provide some feedback on the content to help further deepen the theoretical connection.
In your week2 blog post on platforms and organizations, I noticed that you were interested in participatory art and the role of the curator. But you don’t have a theory to back it up. I suggest you read Danielle Birchall’s “Placing Participatory Art between Process and Practice” (2017) and Eastbourne Caroline S’s “How Contemporary Curatorial Practice Works with Participatory Art” (2020), both of which discuss how museums are increasingly focusing on “user experience” and adopting participatory models, which doves with your discussion. It also helps to take a closer look at how public art is reshaping the city in Week 5.
In addition, I see that you have selected different case studies in weeks 6 through 9 that are very much in line with the theme of this week’s lecture. I think the next thing you can do is compare the cases you choose in depth. The research shows that by analyzing and comparing different curatorial case studies, curators can gain insight into how different curatorial concepts and methods are applied in practice and how they respond to specific social, cultural, and political contexts. At the same time, curatorial practice began to be seen as a critical and reflective practice. It is not just a display of artifacts (O ‘Neill, 2017). As a result, you can incorporate more critical writing into your blog. For example, you mentioned the advantages of VR technology for curation, and you could further explore the potential limitations of VR technology in enhancing the art experience, or the impact on social interaction. The book “I Want to See How You See. Curatorial Practices of Exhibiting Virtual Reality” can provide some theoretical support for your ideas. The advantages of VR are discussed, but also some limitations are indirectly pointed out, including the physical requirements of the technical equipment, the management of the visitor experience, and the impact of the nature of the time-based media on the exhibition design.
For your individual and collective projects, I have seen your contributions and your keen interest in audience participation. You can go to the exhibition “Eleven Heavy Objects” (2009), a classic example of turning viewers into participants, and you can explore the exhibition’s art criticism, which may bring a new perspective to your projects.
In conclusion, if you can provide readers with a deeper understanding and interactive experience, and improve your critical writing by introducing suggested theories and case studies, your blog will be further enriched. These extensions will enhance your exploration of contemporary art curatorial practice.
References:
Birchall, M. (2017). Situating participatory art between process and practice. Arken Bulletin, 7, 56-73.
Eastburn, C.S. (2020). How Contemporary Curatorial Practice Co-opts Participatory Art. CMC Senior Theses. 2479.Available at: https://scholarship.claremont.edu/cmc_theses/2479/
Feiersinger, L. et al. (2018) “I Want to See How You See. Curatorial Practices of Exhibiting Virtual Reality,” in Image – Action – Space. [Online]. United States: De Gruyter, Inc. pp. 203–216.
July, M. (2009). Eleven Heavy Things. Miranda July.Available at:https://mirandajuly.com/eleven-heavy-things/ [Accessed at:25 March 2024].
O’Neill, P. (2007) “The curatorial turn: From practice to discourse,” in Issues in Curating Contemporary Art and Performance. BRISTOL: Intellect Ltd. pp. 13–28.
Project Management
Independent Research based on lecture
Through The exhibition, Talbot Rice Residents and The Animal Husband toured at Talbot Rice Gallery this week.I had further thoughts. Firstly, studies have proved that compared with a single exhibition form, the high-impact combination of digital media, sculpture, installation, painting, sound, and performance will be more attractive to the audience (Freeman et al., 2015). As a viewer, this week’s two exhibitions struck me visually. In particular, The Animal Husband’s ceramic sculpture Urinating to Protect Demons will greet visitors with the smell of Wolf urine. I want to further study the role of other senses besides vision in art curation. In general, multimedia systems include video and audio content that primarily stimulates visual and auditory stimuli. However, to enhance the sense of reality in multimedia experiences, smell has been incorporated into multimedia systems as it directly stimulates memory and elicits strong emotions (Hou et al., 2020).
Case study:
In 2015, a new exhibition at Tate Britain transformed visual art into a multi-sensory experience, with the Sensorium exhibition comprising four rooms around paintings whose sounds, smells, touches and tastes are all inspired by the artwork. After learning about the relevant art criticism, it turns out that sounds and smells manage to add extra depth to all the works (Gian 2015). With the grace of smell, critic Nicola Davis said, “Suddenly the character emerges as a tired and menacing soul in a vibrant, frantic world (2015).”
https://www.tate.org.uk/whats-on/tate-britain/ik-prize-2015-tate-sensorium
Francis Bacon，Figure in a Landscape（1945）
Individual project and collective project:
For individual projects, through dialogue with artists, curators can discover issues relevant to a certain community and provide opportunities for new projects (Zeiske, 2010). So I’m thinking about whether abandoned Spaces can promote community regeneration and be a way to solve social problems. In addition, I wondered if it was possible to bring other senses besides vision into the abandoned space. As for the collective project, last week we divided the labor and roughly determined the modules of the project book. We divided the project into three themes. The team I was in decided to take the time axis because our projects all reflected the connection between the past and the future. At the same time, I also have general research on the location of my curatorial project.
References:
Francis Bacon, Figure in a Landscape (1945). [online image]. Available at: https://www.tate.org.uk/art/artworks/bacon-figure-in-a-landscape-n05941 [Accessed at :22 March 2024].
Freeman, J. C. & Sheller, M. (2015) Editors’ Statement: Hybrid Space and Digital Public Art. Public art dialogue. [Online] 5 (1), 1–8.
Gian M. Volpicelli. (2015). Touch, smell and eat your art at Tate Britain’s ‘Sensorium’ [Online] Available at: https://www.wired.com/story/tate-sensorium-review-2015/ [Accessed at: 22 March 2024].
Hou, H.-R. et al. (2020) Odor-induced emotion recognition based on average frequency band division of EEG signals. Journal of neuroscience methods. [Online] 334108599–108599.
Nicola Davis. (2015). Don’t just look – smell, feel, and hear art. Tate’s new way of experiencing paintings. [Online] Available at: https://www.theguardian.com/artanddesign/2015/aug/22/tate-sensorium-art-soundscapes-chocolates-invisible-rain [Accessed at:22 March 2024].
Zeiske, C. & Sacramento, N. (2010) “Curatorial Methodology,” in ARTocracy. Germany: Jovis Berlin. p.
Sites
Independent research based on lecture:
This week’s in-depth discussion of site-specific art has given me an overview of how it is created, its relationship to space and audience, and its importance in contemporary art. Site-specific art emerged in the late 1960s as a reaction to the increasing commodification of art and the prevailing ideals of artistic autonomy and universality. At the same time, place art has been shown to have a role in exposing repressed histories, providing support for marginalized groups, and how facilitating important discoveries about “small places” that have been overlooked by mainstream culture. (Kwon and Miwon, 2002). The various sources also explore the integration of site-specific art with contemporary performing art, pointing out the importance of audience interaction and the timeliness of art based in a particular place. In my explorations, I discovered that Olafur Eliasson’s 2003 installation at Tate Modern, The Weather Project, embodied this concept, which transformed the vast turbine hall into an immersive environment with atmospheric effects.
Photo: Tate Photography © Olafur Eliasson（2003）
About personal curatorial project and collective project:
In addition, in the afternoon workshop, through the communication with CAP students, I have further thought about my curatorial project, and I want to explore how different types of space affect the audience’s experience of artwork. Some scholars have shown that vested interests may be the best driving force for various basic preventive behaviors in the context of environmental risks (De Dominicis et al., 2021). In other words, if the audience’s vested interests are taken into account in curating, curators need to ensure that the content of the exhibition is meaningful to the audience while providing a rich, interactive, and safe experience. It got me thinking about accessibility and inclusion that I hadn’t considered before, such as designing barrier-free access to ensure that everyone, including people with reduced mobility, can access and enjoy the exhibition. In addition, consider the diversity of languages and provide interpretation materials or equipment in different languages. This is something that must be considered for both team and individual events.
Whats more, I want to make my exhibition more interactive, I refer to The project The Floating Piers, these floating objects are an extension of the street, I hope my exhibition can also bring the audience into the real abandoned space.
Photo: Wolfgang Volz© 2016 Christo and Jeanne-Claude Foundation
References：
Christo and Jeanne-Claude. (2016). The Floating Piers. Available at:https://christojeanneclaude.net/artworks/the-floating-piers/ (Accessed at: 15 March 2024)
De Dominicis, S. et al. (2021) Experiencing, caring, coping: Vested interest mediates the effect of past experience on coping behaviors in environmental risk contexts. Journal of applied social psychology. [Online] 51 (3), 286–304.
Eliasson, O. (2003). The Weather Project [Photograph]. Tate Photography.Available at: https://www.tate.org.uk/whats-on/tate-modern/unilever-series/unilever-series-olafur-eliasson-weather-project (Accessed at:15 March, 2024)
Eliasson, O. (2003) The Weather Project. [online] Tate. Available at: https://www.tate.org.uk/whats-on/tate-modern/unilever-series/unilever-series-olafur-eliasson-weather-project (Accessed at:15 March, 2024)
Kwon, Miwon. (2002) One place after another : site-specific art and locational identity / Miwon Kwon. Cambridge, Mass. ; MIT Press, 1-11.
Volz, W. (2016). Photo of The Floating Piers [Photograph] Available at:https://christojeanneclaude.net/artworks/the-floating-piers/ (Accessed at: 15 March 2024)
Archives & Glasgow Field Trip
We went to Glasgow for a day of fieldwork this week and what struck me was THE exhibition we visited on our first stop: THE TREMBLING MUSEUM. I am exploring the word trembling, my subjective feeling is that this exhibition challenges the traditional classification and presentation of African art that has been imposed for a long time, by crossing historical, artistic, and cultural boundaries. At the same time, the audience is encouraged to understand Africa’s artistic and cultural heritage from a new perspective. In addition, many of the African artworks and artifacts on display had been stored in warehouses for a long time and had not received public attention and appreciation. The project brings these collections back to light and promotes public awareness and appreciation of Africa’s diverse cultures and arts.
The curator also mentioned a problem, which reminds me of my curatorial project, not everyone knows this history, so where to start, let the audience think about it. So I want to explore whether audiences of different backgrounds can gain new insights and understanding from this unconventional exhibition and whether this approach can contribute to a more inclusive and diverse cultural dialogue.
Independent research based on the Field Trip:
In the present context, concerns about equality, diversity, social justice and human rights have moved from the margins of museum thinking and practice to the core. The arguments for attracting diverse audiences, creating conditions for more equitable access to museum resources, and opening up opportunities for participation are now gaining considerable consensus in many parts of the world (Nightingale et al., 2012). Very beneficially, art can help us remember, imagine, create, and change oppressive practices that persist in history and place (Bell et al., 2011). In addition, museums work with social workers, social agencies, and clients to help people navigate and even thrive in circumstances ranging from personal challenges to social injustice (Silverman, 2010). All of the above points prove that art exhibitions can help build a more equitable cultural dialogue.
Individual curatorial research:
Focusing on a new project, The Museum of Abandoned Spaces (MOAS), the exhibition dreams on sale is a museum-based pop-up exhibition in an empty, abandoned, uninhibited, desolate place. It critically examines the impact of developer greed on the city’s architectural and environmental heritage, highlighting the contrast between the appeal of luxury property advertising and the reality of urban decay. In the process, the city’s architectural and environmental heritage continues to deteriorate. The author uses photography to express his dissatisfaction and tries to reflect on this social problem.
(photographer: Arsalan Nasir)
References：
Arsalan Nasir. (2021). Photograph related to ‘Dreams on Sale’ [Photograph]. Vasl Artists’ Association. https://vaslart.org/dreams-on-sale/
Bell, L. A. & Desai, D. (2011) Imagining Otherwise: Connecting the Arts and Social Justice to Envision and Act for Change: Special Issue Introduction. Equity & excellence in education. [Online] 44 (3), 287–295.
Nightingale, Eithne. & Sandell, R. (2012) Museums, equality and social justice / editors, Richard Sandell, Eithne Nightingale. [Online]. Abingdon, Oxon: Routledge.
Silverman, L. H. (2010) The social work of museums / Lois H. Silverman. [Online]. London ; Routledge.
Vasl Artists’ Association. (2021). Dreams on Sale. Available at: https://vaslart.org/dreams-on-sale/ (Accessed at: 10 March, 2024)
