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COURSE OUTLINE: MUSEUMS, GALLERIES, EXHIBITIONS: FRAMING ART HT52040A / HT71007 / VC53040A WINTER 2012 / SPRING 2013 Tuesday 10am-12pm NAB 314 JEAN-PAUL MARTINON Course Description: This course focuses on the theoretical foundations of museums and their critiques. It will analyse how the museum has evolved from being an object-centred educational institution to being an idea-oriented site for the production of experiences. Referring to a wide number of institutions, this course explores a series of typologies to understand the framework defining the museum: the meaning of "museum object," the celebration of "cultural and national diversity" and the importance of museums in the "leisure industries." Curatorially, we will only concentrate on how permanent collections have been and are displayed. The course will also explore how critiques of the museum have shaped its educative, ethical, and aesthetic roles. Teaching will also involve student presentations, museum visits, and discussions of key historical and theoretical texts. Essential Reading -Preziosi, Donald. ed. Grasping the World (London: Ashgate, 2004) [708.01 GRA] -Crimp, Douglas. On the Museums Ruins (Cambridge: MIT Press, 1993) [708.01 CRI] Suggested further reading: -O'Doherty, Brian. Inside the White Cube (Berkeley: University of California, 1999) [708.01 ODO] -Lorente, J. Pedro. Cathedrals of Urban Modernity (London: Ashgate, 1998) [708 LOR] -Duncan, Carol. Civilising Rituals (London Routledge, 1995) [708.01 DUN] -Hudson, Kenneth. Museums of Influence (Cambridge: Cambridge University Press, 1987) [069 HUD] -Bennett, Tony. The Birth of the Museum (London: Routledge, 1995) [069 BEN] -Vergo, Peter. The New Museology (London: Reaktion Books, 1989) [069 NEW] -Noever, Peter. ed., The Discursive Museum (Ostfildern-Ruit: Hatje Cantz, 2001) [708.01 DIS] -Gombrich, E. H. The Museum, Critical Inquiry 3, no. 3 (Spring, 1977): 449-470 [JSTOR] -The ICOM Web Site links you to thousands of museums: Student Seminar Presentations / Museums Visits: There are 4 Student Seminars on this course, 2 of which require visiting museums/galleries. Please try to plan your visit to these museums well in advance of the seminar. The 2 requiring visits are: -Winter: -Spring: Tuesday 27 November 2012: Tuesday 5 March 2013: The Sir John Soane Museum The Freud Museum

All seminar presentations should combine both visual and textual evidence. Assessment: Although you will find at the end of this course outline a set number of suggested questions, you are strongly recommended to explore a topic of your own choice associated with museums. If you decided to do so, you must agree this topic with me by email beforehand. ************************ For all Home Students:

-1 Non-Examined Seminar Presentation: Either a Leading Student Seminar Presentation after a Lecture or a Seminar Presentation in one of the four Student Seminars scheduled. Maximum Number of students per Presentation: 2. Maximum time allocated for presentation: 8-10 minutes. Please rehearse your presentation. -1 Non-Examined 1000 words Essay due on Tuesday 20 November 2012 This essay should be on a topic of your choice associated with the field of museography. It should be typed, double-spaced and should include bibliographic references. Please hand this essay on the day. It will be returned to you on Tuesday 4 December 2012. For all Home Students: -1 Examined 6000 words Essay: Deadline: Check with our Undergraduate Departmental Secretary (RHB228) for date. ************************ For Winter or Spring Visiting Students (1 term only): -1x 2500 word Essay: -Deadlines: Winter: Tuesday 4 December 2012 (Room RHB228 & Inter. Office) Spring: Tuesday 12 March 2013 (Room RHB228 & Inter. Office) ************************ For Winter and Spring Visiting Students (2 terms): -1x 5000 word Essay: Deadline Tuesday 12 March 2013 (Room RHB228 & Inter. Office) ************************ For Winter, Spring, and Summer (3 terms): -1x 6000 word Essay: Deadline Tuesday 4 June 2013 (Room RHB228 & Inter. Office) ************************ For Spring and Summer Visiting Students (2 terms): -1x 5000 word Essay: Deadline: Tuesday 4 June 2013 (Room RHB228 & Inter. Office)


1. Tuesday 2 October: Introduction to Course

2. Tuesday 9 October: Museums, Museology, and Museography Session Abstract: In this first session, we will explore the birth of the modern museum and of its many disciplines. This session will also introduce the key areas of investigation into the study of museums. Reader texts for this session: -Preziosi, Donald. Museology and Museography, in The Art Bulletin LXXVII, no. 1 (March 1995): 13-15 [JSTOR]. -Agamben, Giorgio. The Cabinet of Wonder, in The Man Without Content (Stanford: Stanford University Press, 1999), 28-39 [111.85 AGA]. Suggested further reading: -Preziosi, Donald. The Question of Art History, in Critical Inquiry XVIII (Winter 1992): 363-86 [JSTOR]. -Hooper-Greenhill, Eileen. Museums and the Shaping of Knowledge (London: Routledge, 1992) [069.01 HOO]. -Impey, Oliver and A.C. MacGregor. The Origins of Museums: The Cabinet of Curiosities in Sixteenth and Seventeenth-century Europe (Oxford: Oxford University Press, 1985) [Senate House Stack]. -Parry, Ross ed. Museums in a Digital Age (London: Routledge, 2010) [069.0285 MUS]. Preparation for Seminar: -Read Preziosis text in the Reader. Preparation for Leading Student Presentation: -Read Donald Preziosi essay on Art History (see Suggested Further Reading) and demonstrate how his reading of art history affects our understanding of museums. Structure of Seminar: -Leading Student Presentation -Responses to Preziosis and Agambens texts in the Reader and discussion.

3. Tuesday 16 October: Museum and History Session Abstract: This first session will explore the museums role in shaping our understanding of history. For that we will look at a key passage taken from The Philosophy of History [1822] by the German philosopher George Willhelm Friedrich Hegel. Reader texts for this session: -Hegel, G. W. F. The Philosophy of History, transl. by J. Sibree (Mineola: Dover Publications, 2004), pp. 16-20 [901 HEG]. -Inwood, Michael. A Hegel Dictionary (London: Blackwell, 1992), extracts: pp. 27-8, 101-3, 110-2, 118-9, 242-4, 274-5 [193.5 INW]. Suggested further reading: -Habermas, Jurgen. Modernitys Consciousness of Time and Its Need for Self-Reassurance in The Philosophical Discourse of Modernity, transl. by Thomas McCarthy (London: Polity, 1987) [190 HAS]. -Walsh, Kevin. The Idea of Modernity, in The Representation of the Past: Museum and Heritage in the Post-Modern World (London: Routledge, 1992) [069.01 WAL]. -Koselleck, Reinhart. Modernity and the Planes of Historicity, in Futures Past: On the Semantics of Historical Time, transl. Keith Tribe (New York: Columbia University, 2004), pp. 9-25 [Senate Hse]. Preparation for Seminar: -Read Hegels text in the Reader. Preparation for Leading Student Presentation: -How do you understand the notion of destination in Hegels philosophy? What religious or historical reference does it call for and is it still relevant in todays world? Structure of Seminar: -Leading Student Presentation -Responses to Hegels texts in the Reader and discussion

4. Tuesday 23 October: The Louvre Session Abstract: Starting with an examination of the European art world of the 18th Century, this session will explore the history of The Louvre, one of the very first models of state art museums. We will be examining the significance of the French Revolution in the formation of the museum and the importance of imperialism in the constitution of a National Collection. Reader text for this session: -Quatremre de Quincy, Antoine. Ethical Considerations on the Presentation of Works of Art [1815] (Paris: Arthme Fayard, 1989), pp. 15-48, my translation [Birkbeck Library]. -Zola, Emile. LAssommoire, transl. L. Tancock (London: Penguin, 1970), p. 76-107 [843.89 ZO]. Suggested further reading: -Robert Lethbridge, A visit to the Louvre: LAssommoir Revisited, in Modern Language Review 87, no1 (1992): 41-55 [JSTOR]. -Dotte, Jean-Louis. Rome, the Archetypal Museum and the Louvre, the Negation of Division in Pearce Susan ed., Art in Museum (London: Athlone Press, 1995), pp. 215-22 [708.01 ART]. -Lorente, J. Pedro. Chapter 2 in Cathedrals of Urban Modernity (London: Ashgate, 1998) [708 LOR]. -Potts, Alex. Flesh & the Ideal: Winckelmann & The Origins of Art History (New York: Yale University Press, 1994), [709.0001]. -McCellan, Andrew. Nationalism and the Origins of the Museum in France, in The Formation of National Collections of Art and Archaeology, Gwendolyn Wright ed. (Washington: National Gallery of Art, 1996), pp. 29-40 [British Library]. -McCellan, Andrew. The Muse du Louvre as Revolutionary Metaphor during the Terror, in The Art Bulletin 70, no. 2 (June 1988): 300-13 [705]. Preparation for Seminar: -Read Quatremres and Zolas text in the Reader. Preparation for Leading Student Presentation: -Structure your presentation in two parts: First, present Zolas views on museums. Second, write a short contemporary version of Zolas narrative using a modern museum and characters (fictional or real) of your choice. Structure of Seminar: -Leading Student Presentation followed by discussion Chronology: Absolute Monarchy since 1640 Louis XIV is king between 1661 till he dies in 1715 Louis XV 1715 - 1774 Louis XVI 1774 - 1792 1st Republic 1792 1795 Directoire 1795 - 1798 Consulat 1798 - 1804 Empire 1804 1814 Louis XVIII 1814 - 1830 Louis Philippe 1830 - 1848 Louis Napoleon 1848-1851 Napoleon III 1851 - 1870

5. Tuesday 30 October: The Experience of Art Session Abstract: Through an analysis of two key texts by Valry and Proust, this session will introduce the two main strands of analysis in museum studies: one (Valry) that claims that art is lost as soon as it enters the museum and the other (Proust) that articulates a defence of the museum as a place where the human condition is exposed in its entirety. Reader texts for this session: -Proust, Marcel. Within a Budding Grove, transl. C. Moncrieff (London: Chatto, 1960), p. 310-1 [843.96]. -Valry, Paul. The Problem with Museums [1934], in Degas, Manet, Morisot, transl. by David Paul (London: Routledge and Paul Kegan, 1972) [Senate House]. Suggested further reading: -Adorno, Theodor. The Valry Proust Museum [1967], in Prisms, transl. by Samuel and Sherry Weber (Cambridge: Cambridge University Press, 1981), pp. 175-77 [301.01 ADO]. -Sherman, Daniel. Quatremre / Benjamin / Marx: Art Museums, Aura, and Commodity Fetishism, in Sherman, D. & Rogoff, Irit, eds. Museum Culture (London: Routledge, 1994) [069 SHE]. Preparation for Seminar: -Read Proust and Valrys texts in the Reader. Preparation for Leading Student Presentation: -Read both texts carefully. After reading them, try to sum up each text by creating a list of all their arguments: one list for Valry and another one for Proust. Structure of Seminar: -Leading Student Presentation -Close reading of texts and discussion Reference: -Zuidervaart, Lambert. Adornos Aesthetic Theory, The Redemption of Illusion (Cambridge: MIT Press, 1991) [111.85 ZUI].

Tuesday 6 November: Reading Week

6. Tuesday 13 November: Student Seminar: Museums and Artists Session Abstract: For this session, signed-up students are expected to select one artist and have studied one corresponding text in the anthology: The Museum as Arena, [708.01 MUS]. During the seminar, these students will give a short presentation of their chosen artists work and writing. This analysis must not give an overview of all the arguments contained in the text or survey all of the artists works. It must instead put forward a single argument that frameworks your chosen artists work and writing in relation to the museum. The presentations in this session are for students who have not done or are not scheduled to do a post-lecture Leading Student Presentation on any other session. Suggested further reading: -McShine, Kynaston. The Museum as Muse, Artists Reflect (New York: MOMA, 1999) [700.74 MACS]. -Bronson, A.A. & Gale, Peggy eds., Museums by Artists Art (Toronto: Metropole, 1999) [708 MUS]. -Muensterberg, Werner. Collecting, An Unruly Passion (Princeton: Princeton University Press, 1994) [069.4 MUE]. Preparation for Seminar: -Choose one artist and one text from Christian Kravagna ed., The Museum as Arena: InstitutionalCritical Statements by Artists (Cologne: Verlag der Buchhandlung Walther Knig, 2001) [708.01 MUS]. (Allocation to be determined in class at the start of term). -Produce an analysis of the work of your chosen artist by making reference to both the text selected in Kravagnas book and one or two artworks maximum. -Please rehearse it! Structure of Seminar: -The 2-hour session is divided in 8 slots of 10 mins. presentations.

7. Tuesday 20 November: Ruins or Bibelots? Home students only: 1 Non-Examined 1000 words Essay Now Due Session Abstract: In this session we will investigate the museum art object. Firstly, we will be looking at the museum object through the prism of the ruin. Secondly, we will analyse the difference between an interpreted object and a museum object. Reader text for this session: -Benjamin, Walter. Allegory and Trauerspeil, in The Origin of the German Tragic Drama (London: NBL, 1977), pp. 177-9 [832.5 BEN]. -Balzac, Honor de. The Wild Ass's Skin [1831], transl. by Herbet Hunt (London: Penguin, 1977), pp. 34-42 [Senate House]. Suggested further reading: -Rosen, Charles. The Ruins of Walter Benjamin, in On Walter Benjamin, ed. Gary Smith (Cambridge: MIT, 1991), pp. 129-75 [801.9 ONW]. -Poe, Edgar Allan. The Assignation in The Works of Edgar Allan Poe, Vol. 2 (London: Raven,1962), pp. 1-8 [Senate House]. -Baudrillard, Jean. The System of Collecting, in Simulations (New York: Semiotext(e), 1983) [419 BAU]. -Benjamin, Walter. Edward Fuchs in One Way Street (London: Verso, 1985) [804 BEN]. -Pearce, Susan. Interpreting Objects and Collections (London: Routledge, 1994) [064.4 INT]. -Saisselin, Rmy. The Department Store as Cultural Space, in The Bourgeois and the Bibelot, (New Brunswick: Rutgers University Press, 1979), pp. 33-49 [Senate House]. Preparation for Seminar: -Read Balzacs text in the Reader. Preparation for Leading Student Presentation: Read Balzacs text in the Reader and after you familiarise yourself with Balzacs other works (please check at the library), produce an analysis of this passage of the Wild Asss Skin within the context of his oeuvre. Structure of Seminar: -Leading Student Presentation and discussion -Close reading of text and discussion References: Franois Rabelais, Gargantua, 1532 Friedrich Nietzsche, Untimely Meditations, 1897 Paul Bourget, Essay on Psychology, 1899 J.K. Huysmans, Against Nature, 1899 Richard Beer-Hofmann, The Death of Georges, 1900 Louis Aragon, The Parisian Peasant, 1953 Alain Robbe-Grillet, Jealousy, 1957 Claude Levis Strauss, The Savage Mind, 1962

8. Tuesday 27 November: Student Seminar: The John Soane Museum Sign-up for Tutorials on Tuesday 11 December 2012. Session Abstract: For this session, all students are expected to have visited the Soane Museum and studied at least two texts in the Suggested Reading list. During the seminar, groups of 2 students will give short 10 min. presentations. The presentations must take in consideration the issues raised in the previous week: the romantic notion of fragment, the ideal implied by the ruin and the notions of collection and bourgeois object. The presentations in this session are for students who have not done or are not scheduled to do a post-lecture Leading Student Presentation on any other session. Suggested reading: -Elsner, John. A Collectors Model of Desire: The House and Museum of Sir John Soane, in Cultures of Collecting, John Elsner ed. (London: Reaktion, 1994), pp. 155-289 [708.051 CUL]. -Preziosi, Donald. Hearing the Unsaid, Art History and the Composition of the Self, in Art History & its Institutions, Mansfield, Elizabeth. ed. (London: Routledge, 2002), pp. 28-45 [709.035 ART] -Feinberg, Susan. The Genesis of Sir John Soanes Museum Idea: 1801-1810, in The Journal of the Society of Architectural Historians 43, no. 3 (October 1984): 225-237 [JSTOR]. -Benjamin, Walter. Unpacking my Library in Illuminations, transl. by Harry Zohn (London: Cape, 1970), pp. 61-9 [804 BEN]. -Thornton, Peter. A Miscellany of Objects from Sir John Soanes Museum (London: Lawrence King Publishing, 1992) [Q708.2 THO]. -Bolton, Arthur. The Works of Sir John Soane 1753-1837 (1923), [724.5092 So]. -Ernst, Wolfgang. Frames at Work: Museological Imagination and Historical Discourse in Neoclassical Britain in The Art Bulletin 75, no. 3 (September 1993): 481-498 [JSTOR]. Preparation for Seminar: 1. Read at least two texts from the list above. 2. Visit the Sir John Soanes Museum, 13 Lincolns Inn Fields, London WC2. Tube: Holborn. TuesSat 10am-5pm. Free. - Ask an invigilator to reveal what lies behind the Hogarth paintings. 3. During your visit focus on ONE aspect of the museum (to be determined in class at the start of term): -John Soanes non-professional life -John Soane and Architecture -Ruins or Bibelots? -The Hogarth Room in the John Soane Museum -The Pharaonic Sarcophagus and the Urn in the courtyard in the John Soane Museum -The temporary exhibition space and its current exhibition -One or Two Object(s) of your choice in the John Soane Museum -Open (or a comparison with the Isabella Gardner Museum in Boston, 5. Expand your research. What other collection/artworks would complement your chosen focus? Create a power-point presentation or select slides from the Audio-Visual Collection in the Library (2nd Floor). If you cannot find an illustration, buy a postcard of the item you want to discuss. 6. Produce a short presentation from the observation gathered on your visit (10 min. max). Please structure your presentation and rehearse it! Structure of Seminar: -The 2 hour-session is divided in 8 slots of 10 mins. presentations.

9. Tuesday 4 December: Heritage, Origins and Otherness Visiting Students on a 1 term (Winter) visit only: Essay now due. Session Abstract: This session will look at how museums maintain a hegemonic position. We will be looking at a particular example of colonial looting: the British Museums Benin Bronzes. Through this example, this session aims to establish the foundations for an understanding of post-colonial studies in the context of museums. Reader text for this session: -Carr, Louis. BeninThe City of Bronzes, in Parnassus 8, no. 1 (Jan. 1936): 12-15 [JSTOR]. Suggested further reading: -Nevadomsky, Joseph. Studies of Benin Art and Material Culture, 1897-1997, in African Arts 30, no. 3, Special Issue: The Benin Centenary, Part 1 (Summer 1997): 18-27 + 91-92 [JSTOR]. -Meyerowitz, Eva. Ancient Bronzes in the Royal Palace at Benin, in The Burlington Magazine 83, no. 487 (October 1943): 248-53 [JSTOR]. -Coombes, Annie. Blinded by Science, in Art Apart (Manchester: Manchester University Press, 1994), pp. 102-18 [JSTOR]. -Clifford, James. On Collecting Art & Culture, in The Predicament of Culture: 20th Century Ethnography (Cambridge: Harvard University Press, 1988), pp. 189-251 [301.209 CLI]. -Karp, Ivan and Lavine, Steven. Introduction, Exhibiting Cultures: The Poetic and Politics of Museum Display (Washington: Smithsonian Institution Press, 1991) [069.01 EXH]. -Barringer, Tim. & Flynn, Tom. Colonialism and the Object (London: Routledge, 1998) [069.01 COL]. -Hiller, Susan. ed., The Myth of Primitivism (London: Routledge, 1991) [709.0409 MYT]. -Vogel, Susan, Always True to the Object, in Our Fashion, in Grasping the World: The Idea of the Museum, Preziosi, Donald. ed. (Aldershot: Ashgate, 2004), pp. 653-662 [B708.01 GRA]. Preparation for Seminar: -Read Carrs text in the Reader. Preparation for Leading Student Presentation: After reading Carrs text in the Reader, answer the following question: Why is the author putting so much emphasis on the problem of the origin of the Bronzes? Do you think it affects our notion of what is other? Structure of Seminar: -Leading Student Presentation and discussion. -We will also view the video Stolen Goods, National Treasures, directed by Tim Robinson - BBC2, 9 December 2000 [708.2 STO]. References: -Henry Balfour, The Evolution of Decorative Arts [1893] -Lane Fox Pitt Rivers, The Evolution of Culture and other essays [1906]


10. Tuesday 11 December: Tutorials - Session 1 -There are 2 Tutorial Sessions this year: on Tuesday 11 December 2012 and on Tuesday 19 March 2013. -Tutorial Sessions are optional. They are for Home Students and Visiting Students on a Full Academic Year Visit only. -Tutorial sessions take place in Room RHB 233 and in NAB 314. Please take note of room number when signing up. -This first session of tutorials has two aims: as a personal feedback on your Non-Examined Course Work (handed in on 20 November) and as a platform to discuss the topic of your final examined essay (deadline: Check with our Undergraduate Departmental Secretary (MB228) for Room No. & Date). -Sign-up sheets for tutorial on this day will be given on Tuesday 27 November 2012.


B. SPRING 2013 1. Tuesday 8 January: Within Four Walls: Foucault, Bennett & Crimp Session Abstract: This session will examine recent attempts to analyse the museum using a model of thinking established by Michel Foucault in his archaeological investigations of prisons, lunatic asylums, and clinics. We will be looking at the ways in which this model has been used by art historians and artists and the impact it has had on the museum, its remit, and its ideology. Reader texts for this session: -Foucault, Michel. The Spectacle of the Scaffold in Discipline and Punish: The Birth of the Prison [1975] transl. by Alan Sheridan (London: Penguin Books, 1977), p. 57-9 [365.944 FOU]. -Bennett, Tony. Chapter 2: The Exhibitionary Complex, in The Birth of the Museum (London: Routledge, 1995), pp. 59-88 [069 BEN]. Suggested further reading: -Crimp, Douglas. On the Museums Ruins, in The Anti Aesthetic: Essays on Post Modern Culture, (Washington: Bay Press, 1985) [Senate House]. -Foucault, Michel. The Birth of the Clinic [1972], translated by A.M. Sheridan (London: Routledge, 2000) [362.10944 FOU]. -Jay, Martin. Scopic Regimes of Modernity, in Vision and Visuality, Hal Foster ed., DIA Foundation Discussions in Contemporary Culture, No. 2 (New York: The New Press, 1988), pp. 3-27 [701 VIS]. Preparation for Seminar: -Read Foucault and Bennetts texts in the Reader. Preparation for Leading Student Presentation: Research in the Library the history of Crystal Palace, visit the Crystal Palace Museum and Park (including the dinosaurs), and answer the following question: How did Crystal Palace provide a context for the display of power and knowledge? Structure of Seminar: -Leading Student Presentation -Re-writing of Foucaults text in the context of museum displays. Books by Michel Foucault include: Discipline & Punish, Madness and Civilisation, The Birth of the Clinic, The Order of Things.


2. Tuesday 15 January: Museums and Photography Session Abstract: This session will explore Malrauxs famous text on the impact of photography on museums. We will explore how museums have dramatically changed with the advent of mechanical and digital reproductions and how they have ended up generating a different reading of art history. Reader texts for this session: -Malraux, Andr. Museum Without Walls, in The Voices of Silence, transl. by Stuart Gilbert (Princeton: Princeton University Press, 1978) [843.99 MA]. Suggested further reading: -Foster, Hal. Archives of Modern Art in October 99 (Winter 2002): 81-95 [705]. -Blanchot, Maurice. Time, Art and the Museum, in Malraux: A Collection of Critical Essays, R.W.B. Lewis ed., transl. by Beth Archer (Englewood-Cliffs: Prentice-Hall, 1993) [Senate House]. -Crimp, Douglas. Chapter: On the Museums Ruins, in On the Museums Ruins (Cambridge: MIT Press, 1993) [708.01 CRI]. -Krauss, Rosalind. Postmodernisms Museum Without Walls, in Greenberg, Reesa. Ferguson, Bruce and Nairne, Sandy. eds. Thinking about Exhibitions (London: Routledge, 1997) [708.01 THI]. -Karlholm, Dan. Reading the Virtual Museum of General Art History, in Art History 24 (September 2001): 552-577 [705]. -Bohrer, Frederick. Photographic Perspectives: Photography and the Institutional Formation of Art History, in Art History & its Institutions (London: Routledge, 2002), pp. 246-59 [709.035 ART]. -Kemp, Martin. The Science of Art: Optical Themes in Western Art (New York: Yale, 1990) [701.8 KEM]. Preparation for Seminar: -Read Malraux and Fosters texts in the Reader Preparation for Leading Student Presentation: Each paragraph in Malrauxs text puts forward an argument for the use of photographs. Make a list of all his arguments as if you were to sum up his text and compare this list with the arguments contained in Fosters text (See Suggested Further Reading). References: -Poem: O Mister Daguerre! Sure youre not aware Of half the impressions youre making, By the suns potent rays youll set Thames in a blaze, While the National Gallerys breaking. The new Police Act will take down each fact That occurs in its wide jurisdiction And each beggar and thief in the boldest relief Will be giving a colour to fiction. [1839] Quoted in Helmut & Alison Gernsheim, Daguerre (New York: Dover, 1968), p. 105. Structure of Seminar: -Leading Student Presentation and discussion -Close reading of texts and discussion


3. Tuesday 22 January: Jean-Franois Lyotard: Les Immateriaux Session Abstract: Through an exploration of Lyotards exhibition, Les Immateriaux (Pompidou Centre, Paris, 1985), we will explore, how, after photography, modern technology continues to affect the museum. We will also question whether or not visual culture can occasionally escape the kinds of orderly sense that, museums, art history, and theory impose onto it. Reader texts for this session: -Borges, Jorge Luis. The Library of Babel, in Labyrinths (London: Penguin, 2000), pp. 78-86 [863.6982 Bo] -Rajchman, John. The Postmodern Museum, in Art in America (October 1985): 111-117 + 171 [705]. Suggested further reading: -Lyotard, Jean-Franois. Catalogue essay for the exhibition Les Immateriaux, in Thinking about Exhibitions, pp. 159-73 [708.01 THI] -Lyotard, Jean-Franois. Introductions to The Post Modern Condition and What is Postmodernism? in Art in Theory, Harrison, Charles & Wood, Paul eds. (Oxford: Blackwells, 1992), pp. 998-1000 & pp. 1008-1015 [701 ART]. -Linker, Kate. A Reflection on Post-Modernism, in Artforum International 24 (September 1985), pp. 104-5 [705]. -Banks, Gyn. The Site of Ruined Intentions, in Studio International 198, no. 1009 (1985): 23-5 [705] -Ferguson, Brian. Exhibition Rhetorics, in Thinking about Exhibitions, pp. 176-90 [708.01 THI]. -Rajchman, John. Jean-Franois Lyotards Underground Aesthetics, in October 86 (Fall 1998): 318 [via JSTOR]. -Lyotard, Jean-Franois. Interview with Bernard Blistne, in Art and Philosophy, edited by Giancarlo Politi (Milan: Flash Art Books, 1991), pp. 65-84 [Senate House]. -Birringer, Johannes. Overexposure: Les Immateriaux, in Performing Arts Journal 10, no. 2 (1986): 6-11 [JSTOR]. Preparation for Seminar: -Read both texts in the Reader. Preparation for Leading Student Presentation: -Read Lyotards introduction to The Post Modern Condition and What is Postmodernism? in Art in Theory (see Suggested further reading) and compare these texts with Borgess text in the Reader. How do these texts converge and how does Lyotard apply his theory? References: -Beckett, Samuel. Endgame, edited by Steven Connor (London: Macmillan, 1992) [822.99 BE & Video: 12502]. -Gilles Deleuze & Felix Guattari, A Thousand Plateaus, Capitalism and Schizophrenia [1980], transl. by Brian Massumi (London: The Athlone Press, 1999) [132.1982 DEL]. Structure of Seminar: -Leading Student Presentation followed by an exploration of Lyotards exhibition catalogue.


4. Tuesday 29 January: Guest Lecture Session Abstract, Reading, and Structure of Session will be given at the start of term. 5. Tuesday 5 February: Mapping or Playing Chess Session Abstract: This session will explore museums in terms of mapping. We will first look at the ways in which the world was originally conceived as a hypothesis. We will then explore the idea that the museum operates in the same way, by mapping hypothesis of knowledge based on interpretations and reinterpretations of works of art. Reader text for this session: -Hubert Damisch, Moves: Playing Chess and Cards with the Museum, in Moves (Rotterdam: Museum Boijmans Van Beuningen, 1997), pp. 73-95 [708.01 DAM]. Suggested further reading: -Alphen, Ersnt van. Moves of Hubert Damisch: Thinking about Art in History, in Moves, (Rotterdam: Museum Boijmans Van Beuningen, 1997), pp. 97-121 [708.01 DAM]. -Ferguson, Greenberg and Nairne. Mapping International Exhibitions, in Anna Harding, ed., Curating: The Contemporary Art Museum (London: Art & Design, 1997), pp. 30-8 [Q708.053 CUR]. -Malraux, Andr. Museum Without Walls, in The Voices of Silence, transl. by Stuart Gilbert, (Princeton: Princeton University Press, 1978) [843.99 MA]. -Bann, Stephan. Truth in Mapping, in Word and Image 4, no. 2 (April 1988): 508 [705]. -Kng, Moritz. Orbis Terrarum, Ways of Worldmaking (Rotterdam: Plantin Moretus, 2000) [British Museum]. Preparation for Seminar: -Read Damischs text in the Reader. Preparation for Leading Student Presentation: -Read Damischs texts in the Reader, and answer this question: How is Damisch challenging conventional modes of mapping work in a museum? Your presentation must make reference to other works by Damisch (see below). Books by Hubert Damisch include: A theory of /cloud/: toward a history of painting, The judgment of Paris, The Origin of perspective. Structure of Seminar: -Leading Student Presentation and discussion -A game of mapping an imaginary Museum of Maps

Tuesday 12 February: Reading Week

6. Tuesday 19 February: Guest Lecture Session Abstract, Reading, and Structure of Session will be given at the start of term.

7. Tuesday 26 February: Museums, Curating, and Narratives Session Abstract: In this session, we will ask: how does one read a display of works of art. The aim is to question whether or not we can interpret the material of exhibitions as if it was a series of signs and

signifying practices. We will be looking at the uses and problems of a semiotic approach to curatorial practices. Reader text for this session: -Bal, Mieke. On Grouping: The Caravaggio Corner, in Looking In: The Art of Viewing (Amsterdam: G&B Arts, 2001), pp. 161-90 [709 BAL]. Suggested further reading: -Bal, Mieke. Double Exposure: The Subject of Cultural Analysis (London: Routledge, 1996) [UCL]. -Bal, Mieke. and Bryson, Norman. Semiotics and Art History, in The Art Bulletin LVVIII, no. 2 (June 1991): 174-208 [via JSTOR]. -Bryson, Norman. Discourse, Figure, in Word and Image, French Painting of the Ancient Regime, (Cambridge: Cambridge University Press, 1981), pp. 2-28 [709.0334 BRY]. -Derrida, Jacques. The Truth in Painting, transl. Geoffrey Bennington and Ian McLeod (Chicago: University of Chicago Press, 1987) [701.17 DER]. Preparation for Seminar: -Read Bals text in the Reader. Preparation for Leading Student Presentation: -Take two paintings by two different artists and make a case for showing them together in a show. Your presentation must follow the model proposed by Mieke Bal in her reading of the Caravaggio Corner. References: -V. N. Volosinov, Marxism and the Philosophy of Language [1929], transl. by Ladislav Matejka and I. R. Titunik (New York: Seminar Press, 1973) [401 VOL]. Structure of Seminar: -Leading Student Presentation followed (if time allows it) by a re-reading of an show at Foundation Cartier in 1996.


8. Tuesday 5 March: Student Seminar: The Freud Museum Sign up for Tutorials on Tuesday 19 March 2013. Session Abstract: For this session, all students are expected to have visited the Freud Museum, Sigmund Freuds final home. Signed up students are requested to write an interior monologue made of personal experiences and observations. During each seminar, students will read out and discuss their narratives. The presentations in this session are for students who have not done or are not scheduled to do a post-lecture Leading Student Presentation on any other session. Reader texts for this session: -Sarraute, Nathalie. Portrait of a Man Unknown, transl. by Maria Jolas (London: John Calder, 1959), pp. 197-206 [Senate House]. -Duffy, Jean. Le sens de la visite: Meaning and Museums in the Nouveau Roman, in Word and Image 18, no. 1 (January-March 2002): 31-3 [705]. -Blanchot, Maurice. Interior Monologue in Faux Pas, transl. Charlotte Mandell (Stanford: Stanford University Press, 2001), pp. 244-7 [Senate House]. Suggested further reading: -20 Maresfield Gardens: A Guide to the Freud Museum (London: Serpents Tail, 1998) [Senate House]. -Gamwell, Lynn and Wells, Richard. eds., Sigmund Freud and Art: His Personal Collection of Antiquities (New York: State University of New York & The Freud Museum, 1989) [Senate House]. Preparation for Seminar: 1. Read all three texts in the Reader for this session. 2. Visit the Freud Museum, 20 Maresfield Gardens, Hampstead, London NW3 5SX, Tube: Swiss Cottage, Wed-Sun noon-5pm, 3 - 3. Produce a narrative of your visit in the literary style known as stream of consciousness (a continuous unedited chronological flow of ideas and observations that goes through your mind while visiting the museum). Be creative: do not edit your thoughts; present them as they first came to you. If you had to visit the bathroom, say it. The extract taken from Nathalie Sarrautes famous novel is a good example of this literary style. The two other texts explain this specific literary style. Ideally, you should end up focusing on one aspect or one artefact in the museum. For example, your stream of consciousness could lead you to focus on Freuds life, his death, his famous couch, one of the many Egyptian, Greek, African or Roman antiquities, one aspect of psychoanalysis, the meaning of the terms archaeology of the subconscious, Salvador Dalis portrait, Anna Freuds life and works, Freuds family home movies, a photograph, the shop, etc. 4. If you want to discuss a particular object and it is available in postcard format, buy one and bring it along for discussion. Your literary stream of consciousness should not last more than 10 min. max. Although this may sound contradictory, please rehearse it once youve written it! Structure of Seminar: -The 2-hour session is divided in 8 slots of 10 min. presentations


9. Tuesday 12 March: Museums and Ethics: The Rwandan Genocide Museum Visiting Students on a 1 (spring) or 2 term (Winter/Spring) visits only: Essay now due. Session Abstract: For this final session, we will look into the problem of ethics in relation to museums: how does a museum put forward an ethical message in their displays? This session will be illustrated by two short films and by the reading of an extract from a novel by Boubacar Boris Diop. Reader texts for this session: -Boubacar Boris Diop, Murambi, The Book of Bones, translated by Fiona McLaughlin (Bloomington: Indiana University Press, 2006) [823.996 Di]. Suggested further reading: -Dallaire, Romo. Shake Hands with the Devil: the Failure of Humanity in Rwanda, with Brent Beardsley (London: Arrow, 2004) [967.571 DAL]. -Mamdani, Mahmood. When Victims Become Killers: Colonialism, Nativism, and Genocide in Rwanda (Oxford: Princeton University Press, 2001) [967.57 MAM]. -Prunier, Grard. The Rwanda Crisis: History of a Genocide (London: Hurst & Co., 1998) [967.571 PRU] Preparation for seminar: -Read Diops text in the Reader. Structure of Seminar: -Viewing of the videos Shooting Dogs [791.437 SHO] and The Rwandan Genocide Museum, 2003 [British Museum] and discussion.

10. Tuesday 19 March: Tutorials - Session 2 -This second session of tutorials is for students who require last-minute guidance in the writing of their final examined essay. Sign-up sheets will be given on Tuesday 5 March 2013. -Tutorial sessions take place in Room RHB 233 and in NAB 314. Please take note of room number when signing up.


ESSAY QUESTIONS 2012/2013 FOR ALL HOME STUDENTS AND ALL VISITING STUDENTS: Requirements: -A title and the question or topic explored. -The essay should be typed and double-spaced. It should also include foot or endnotes and a bibliography. -Suggested research structure: -Peruse several books from the suggested reading list. -Choose one book and after reading it, focus on one chapter that interests you. -Make summaries of the particular arguments included in the chapter. -Read the footnotes and the accompanying bibliography. -Identify the specific theoretical framework of the book or of the chapter itself. -Identify the main argument that you will be addressing. -In the Libraries (Goldsmiths, Senate House, etc.), research the texts mentioned in the footnotes and bibliography, focusing specifically on the key theoretical books mentioned. -Research databases (ARTABSTRACTS, INGENTA, 1stSEARCH, JSTOR) for books and/or articles on the chosen argument with the help of keywords taken from the selected chapter. -Take notes of all the arguments found, in your own words. -Classify the various texts under specific thematic headings. -Summarise the contents of these books or articles in one paragraph under each heading. -You now have a literature review. -Return to your argument and evaluate how and where your argument stands in relation to these thematic summaries. -With this evaluation, start building a structure for your essay. -Start writing your essay, knowing that a) you have an argument, b) you have the material to answer this argument and c) you have a structure that orders this material and addresses the argument. -In all cases: -Please do NOT "go shopping" for theory. You MUST frame your analysis within a particular theoretical framework (philosophical, psychoanalytical, anthropological, etc.). -Please do NOT retrace the issues raised in class and do NOT base your essays on texts from the Reader: investigate a specific issue that is personal to you and choose texts that are relevant to your topic. -Please do NOT quote from a text downloaded from random websites, especially not from or -Material collated should clearly and efficiently illustrate the problem researched. This can include photographs, articles, short texts, web downloads, reports from conferences, highlights from information sheets distributed in museums and galleries, etc. Please avoid dumping this material at the end of your essay. Use it imaginatively, as if a sketchbook. If you include a CD, a tape, a video, or a DVD, please label it, and explain its contents and its relevance in your essay. Assume that no material will be returned.


Suggested Essay Questions: Why is Rome the archetypal museum? Your answer must include an analysis of the meaning of the word archetype and reference the Grand Tour and the birth of tourism in the Enlightenment. To understand a work is to know the question to which it is an answer. (Philip Fisher, Making and Effacing Art (Oxford: Oxford University Press, 1991), p. 23 [708.01 FIS]). Do you agree with Fishers statement? Please read his book and, once you understand the context of his sentence, choose one detailed example to support your argument for or against Fishers idea. In respect of ethnographic collections and non-western collections, why are museums constantly at the centre of a redefinition of art in ever more universal terms? Answers to this question must reference key works in the field of ethnography or anthropology. Write an imaginary encounter between Marcel Proust, Paul Valry and Theodor Adorno in a museum of your choice. This essay does not necessarily need to be historically accurate, but must include material drawn from other works by these three authors than those already included in the Reader. Mieke Bal and Norman Bryson in Semiotics and Art History, in The Art Bulletin LVVIII, no. 2 (June 1991): 174-208 [JSTOR] give us a new way of understanding the art exhibited in museums. Choose a couple of works in a museum of your choice and read them in a manner that would do justice to the ideas contained in their famous essay of 1991. How do non-linear exhibitions (flea-market style museum exhibitions) reflect Jean-Franois Lyotards understanding of our post-modern world? What do these exhibitions say about our contemporary sense of history and how do they differ from thematic and/or authored exhibitions that have clearly defined exhibition routes? What understanding of visual knowledge does Damisch put forward and how does it relate to the museum? This essay must include references to other works by Damisch. Write a critical analysis of Okwui Enwezors numerous exhibition catalogues for Documenta XI (Kassel: Hatje Cantz, 2002): Q709.051 DOC, 707.4 Bi/DOC, 709.051 DOC, 307.76096 DOC, 707.4 Bi/DOC. It is not a question of presenting works in correlation to their own times, but rather, within the framework of the time of their births, to present time that knows them, that is, our own. Walter Benjamin, Literary History and the Study of Literature, translated by Rodney Livingstone, in The Destructive Character, 1931, in Michael W. Jennings, Howard Eiland, and Gary Smith eds., Walter Benjamins Selected Writings, Volume 2: 1927-1934, pp. 459-465 [804 BEN]. This topic requires reading Benjamins essay as well as Michael Lowy, Fire Alarm: Reading Walter Benjamin's On the Concept of History, translated by Chris Turner (New York: Verso, 2005) [901 LOW]). Support your argument with one of the following museums: -The Petrie Museum, University College, Gower Street, WC1 (Tube: Euston Square) -Leighton House Museum, 12 Holland Park Road, London W14 (Tube: High Street Kensington) -The Horniman Museum, 100 London Road, Forest Hill, London SE23, (Train: Forest Hill BR) -The Geffrye Museum, Kingsland Road, London E2, (Tube: Hoxton) -The John Soane Museum, 13 Lincolns Inn Fields, London WC2 (Tube: Holborn) -The Freud Museum, 20 Maresfield Gardens, London NW3 5SX (Tube: Swiss Cottage). What are (amongst others) Jean Luc Godard in Bande Part (1964) and Bernardo Bertolucci in The Dreamers (2003) teaching us about museums? How does it differ from the way Zola describes a visit to the Louvre in LAssomoire?