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.
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