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ARTH 648B-2

Envisioning Digital and Virtual Forms of Exhibitions:
The Curatorial Translation of Theory into Practice
Tuesday - 18:00-21:00 EV-3-760
loren.lerner@sympatico.ca

Note: The seminar room is available at 5:00 to give you time to set up your presentations.
Office hours: Tuesday, 3:00-5:00, and by appointment.

Wednesday Sept 5
Introduction
Researching Contemporary Canadian Artists
Invited Speaker: Melinda Reinhart, Visual Arts Librarian

Week of Sept 5 and 11: Loren meets individually with students

Sept 11
Museum Websites, Virtual Exhibitions, Digital Media and New Technologies
Invited Speakers: Dina Vescio, Concordia MA Art History graduate and Department Assistant, Art History;
Wendy Thomas, Senior Heritage Information Analyst, Canadian Heritage Information Network (CHIN); Michel
Hardy-Lavallée, Concordia PhD Art History student

Wednesday Sept 12
Contemporary Art Knowledge: Production and Dissemination
Invited Speakers: Martha Langford, professor, Art History / Research Chair and Director, Gail and Stephen
A. Jarislowsky Institute for Studies in Canadian Art / Editor-in-chief, Journal of Canadian Art
History/Annales d'histoire de l'art canadien

Readings:
*Müller, K. "Museums and Virtuality." Curator: The Museum Journal, 45 (2002): 21–33.
*Soren, B.J. & Canadian Heritage Information Network. "Best Practices in Creating Quality Online
Experiences for Museum Users," Museum Management and Curatorship 20, no. 2 (2005); 131-148.
*Hargittay, C. "Bill Kirby [internet archive of Canadian professional artists]." Canadian Art, 18 (Fall 2001):
42-43.
*Styliani, S., et. al. Virtual Museums, a Survey and Some Issues for Consideration. Journal of Cultural
Heritage 10, no. 4 (October 2009), 520-528.

NO CLASS Sept 18 and Sept 25

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PhD candidate in Art History and Gender & Women's Studies at McGill University and curator of Coming through the Fog: les rencontres de Matthieu Brouillard et de Donigan Cumming. 10 (2009): 112-117. artist. (reserve."" Art Press no. no. Webster Library) *Kihm. in WORD and one-paragraph tentative description of the two-artist exhibition 2 . Erin Silver. and Charles. tr. Québec March 19 – April 20. Week of Oct 9 and 16: Loren meets individually with students Oct 16 Curatorial Initiatives and the Transformation of Exhibition Practices Invited Speakers: Donigan Cumming. paper and email attachment. Nancy. paper and email attachment. 364 (2010): 55-62. in WORD.. Part Two Oct 23 Virtual Exhibition with Other Artists: Student Presentations Oct 30 Virtual Exhibition with Other Artists: Student Presentations Oct 30 7:40 Invited Speaker: Bill Kirby. 2012." "Que font les commissaires? / A Study of Curators and Curating. Concordia University. founder and executive director of the Centre for Contemporary Canadian Art (CCCA) Nov 6 Draft of assignment for Part Two due. Readings: *Coming through the Fog: les rencontres de Matthieu Brouillard et Donigan Cumming Curated by Erin Silver. "Party of Two. Penwarden. *Princenthal. Montréal.Part One Oct 2 Virtual Exhibition with Artists from the CCCA website: Student Presentations Oct 9 Virtual Exhibition with Artists from the CCCA website: Student Presentations Oct 16 Draft of assignment for Part One due. FOFA Gallery.. Christophe." Art in America 97.

Director. Nicola. 1 (2008): 39-58. Maureen. Rhea. 16. Lev. "The Practice of Everyday (Media) Life: From Mass Consumption to Mass Cultural Production?" Critical Inquiry 35. *Trezzi. 2 (2002): 153-166.Nov 6 Conceptualizing Exhibitions: The Interrelations of Real and Virtual Productions Invited Speakers: jake moore. Gregory. no." Third Text. Betrayal." Flash Art (International Edition) 43 (2010): 62-66. no. "The Art of Curating. "Fidelity. *Lyon. Nov 20 Interviewing Artists and Writing about Art Invited Speaker: Joanne Latimer. no. 2 (2009): 13-22. Week of Nov 6 and 13: Loren meets individually with students Nov 13 The Exhibition Catalogue: Digital versus Print Publishing Invited Speaker: Pata Macedo." Visual Resources: An International Journal of Documentation. 3 . 24. Postimage Readings: *Gagnon. no. Autonomy: In and Beyond the Contemporary Art Museum. no. Vicky Chainey. 3 (2005): 78-83. no. FoFa Gallery / Sara Morley. Christopher." Art Journal 64. Graphic Designer Readings: *"The Aesthetics of Publishing: The Art Book as Object from Print to Digital. *Manovich. "From the Populist Museum to the Research Platform: New Art Exhibition Practices Today. Design." Art Documentation 28. *Whalen. "A Response. Gallery Director. 95 (February 2012): 32-34. "The Art Book's Last Stand?" Art in America 94. 8 (2006): 47-55. freelance journalist Readings: *Anastas. *Sholette." Etc no. "What's Wrong With This Picture? An Examination of Art Historians' Attitudes About Electronic Publishing Opportunities and the Consequences of Their Continuing Love Affair with Print. 2 (Winter 2009): 319-331.

Dec 21 Final assignments. Two and Three." Art Journal 67.artbank. For Part Two preference is given to two to three artists from: Oh Canada (exhibition catalogue on reserve." Art Journal 67. 4 (2008): 33- 37. no." Art Journal. no." Art Journal 67. 4 (Winter 2008): 38-55."“Ask Somebody Else Something Else”: Analyzing the Artist Interview. "Why and How Do We Work on Living Artists. *Tuchman. *Hudson. Phyllis. Nov 27 Two Artist Virtual Exhibition: Student Presentations Dec 4 Two Artist Virtual Exhibition: Student Presentations Dec 11 Draft of assignment for Part Three due. *Griffin. Part One. Suzanne. 3 (2005): 70-77. due DESCRIPTION OF ASSIGNMENTS Part One Virtual Exhibition with Artists from the CCCA website Part Two Virtual Exhibition with Other Artists For Part One the focus is on two to three artists from the CCCA website. Tim. Richard.*Burton. *Meyer. winners of the Governor General Awards for Visual Arts 4 . paper and email attachment. Webster Library) Spotlight on 40 Years Artworks from the Canada Council Art Bank: http://www.ca/en/40th. It Was What It Was (exhibition catalogue on reserve. 4 (Winter 2008): 8-11. 64. and Lisa Pasquariello. Webster Library) It is What It Is. 3 (2005): 46-49. Johanna. "Artists Sometimes Have Feelings. "'Method Acting': The Artist-Interviewer Conversation. "Two or Three Things I Know about Artist Interviews." Art Journal 64. no. no.

canadacouncil. themes. Will the catalogue be a discrete component or will it be seamlessly integrated into the composition of the exhibition? You may also want to consider sharing the tools that assisted you in developing your exhibition. and the opportunities offered by a web environment. For Part One and Part Two the presentation of 15 minutes focuses on the artists and works of art and explores the formal aspects and content . Note: The design of the virtual exhibition is a theoretical exercise.aspx. an exhibition model. double-spaced. This may include: a story board. support material. The form. exploratory paragraph of four to five sentences for each of the images. and.the subjects. four to five images with citations. For this assignment you will want to consider the concept of the exhibition catalogue in how its appearance and content relates to the exhibition. This virtual exhibition includes in the range of six to ten works. This study takes into account developments in contemporary art theory and practice. endnotes. bibliography. . This consists of a title. The written portion of this assignment is in the range of four pages (double-spaced). some on-line.. content and presentation of the exhibition will be determined by the student in consultation with Loren. concepts. MLA style manual. standard margins. Additionally.artbank. You are not expected to have the technical expertise to create this exhibition. A class discussion of 10 to 15 minutes follows each presentation.that bring the artists together in a group exhibition. In conceptualizing this show you are welcome to experiment with various digital and visual ways of organizing an on-line exhibition. artefacts and other types of visual media can complement the selection of works. an introduction of one page. The intention is to explore the concept of an exhibition and modes of on-line presentation and display. such as photographs.Governor General Awards in Visual and Media Arts http://ggavma. Part Three Two-Artist Virtual Exhibition This two-artist exhibition consists of one artist from the Part One assignment (CCCA website) and one artist from the Part Two assignment.ca/ http://www. 12 point. Or you can argue that a virtual exhibition is not significantly different from a show in a gallery and that there are numerous examples of innovative exhibitions in physical spaces that can be adapted to the web environment. a descriptive. Style and format: Times New Roman.ca/en/The%20Collection/Award%20Winning%20Artists/Governor%20Generals%20Award s%20in%20Visual%20and%20Media%20Arts. the challenges of defining a two-artist exhibition. etc. or in- 5 .

exhibition catalogues. The website will be developed in Winter / Spring 2013." Art in America 96.databases .. standard margins. One of the students is the moderator who introduces the session and speakers. the exhibition title. The textual component is in the range of eight to ten pages (double-spaced). Required Readings / Recommended Readings Required readings: Bring to class "Discussion Points. Search journal title. endnotes. double-spaced. a curatorial essay of three to four pages. The written part of this assignment includes a one page description of the exhibition plan and design concept for the web designer. See Concordia libraries. Museum Websites. Brian. then author or title. Digital Media and New Technologies Boucher. 10 (November 2008): 34.gallery exhibitions. a descriptive. and presides over the panel discussion that follows the presentations of that session. You are to define the concept. These observations will also help you respond to the invited speakers and ask them questions. 6 . and provide an analysis of the artists and works. and curatorial practices. form. page and paragraph numbers). Each excerpt is followed by a brief question or comment to stimulate class discussion. exhibitions. Assignment marks: Part One: 25 marks Part Two: 25 marks Part Three: 40 marks Class participation: 10 marks You can present and write your work in French.e-journals. six to ten works with complete citations. exploratory paragraph of four to five sentences for each of the images. and writings on contemporary art. Students. "From the Studio to Your Monitor. 12 point. MLA style manual. present their findings as if this is a conference. no. Note: Exhibitions for this graduate seminar will likely result in a website publication. Each presentation is 20 minutes. two to three per panel. bibliography. This document consists of a scan of two to four excerpts from the required reading/s (indicate title of article. Virtual Exhibitions. Style and format: Times New Roman." a one page-document for distribution to your fellow- students and Loren. content and design of the exhibition.

no. Jones. Quebec) no. STEP INTO MY BOOTH. "REPORT FROM THE BLOGOSPHERE. 53 (2010): 35–43. 2 (2005). Libby Rosof." Curator 54. Elizabeth M. Rhodes. "Immersive Textuality: The Editing of Virtual Spaces. 5 (2011): 140-147. 3 (July 2011): 327-346." Curator: The Museum Journal. Langill." Flash Art (International Edition) 44. no. "Museums and Virtuality. Stephanie. Curator as Champion. Russo." Curator: The Museum Journal 47 (2004): 55–83. 131-148. Proctor. Jeff Jahn. J." Art in America 99 no. no. Caroline." Canadian Art. Fraistat. Regina Hackett. 45 (2002): 21–33. 188. Angelina. 1 (April 2012): 85-100. and Elisabeth Bogdan. "“Cyberpals!/Les Cybercopains!”: A Look at Online Museum Visitor Experiences. *Soren. K.Cash. Hirsch. Contemporary Art Knowledge: Production and Dissemination Chong. Christopher Hart." Text 15 (2003): 69-82. "Ab Ex Gets a Life Online. Soren. 10 (2007): 61-69. no. "PSST. and Creative Connections. Peter. B. Martin. Plagens." Curator: The Museum Journal. 1 (2011): 22. "THE EVERYONE ART WORK. Cultural Exchange. in the Age of Social Media. 28 (2011). N. Roberta Fallon." Cultural Trends 19." Art in America 99." ETC (Montreal. B. N. no. 7 . 89 (March 2010): 35-39. "Best Practices in Creating Quality Online Experiences for Museum Users. "Digital: Museum as Platform. "Supporting Creativity within Web-based Self-services. Chambers. Neil.J. and Steven E. R." International Journal of Design 6. 278 (May 2011): 94-96. Faye. and Edward Winkleman. "New World Evolutions: Transmute. & Canadian Heritage Information Network. no. Tyler Green. *Müller. and Caitlin K. "Rising Tide of Artist-Led Art Fairs. Derrick." Museum Management and Curatorship 20. and Lemelin. 1-2 (2010): 93-107. no. "Plural Public Funding and Canada's Contemporary Art Market System. "Transformations in Cultural Communication: Social Media." Art in America 95. Gerber.

"Bill Kirby [internet archive of Canadian professional artists]. Stogner. 4 (Winter 2006)..J. 18 (Fall 2001): 42-43. Johanna." Museum International 54. "Behind the Scenes of the Museum Website. Sherri. Robert. 66. S. 5 (2005): 33-37. "Digital Gallery: Image Collections on the Web. 2 (2001): 141-145. Wilson. 2 (2006): 143-156. 4 (October 2009). Osthoff. Anatoly. no. *Styliani. no.Drucker. pp. Simone. 1 (Spring 2007): 28-40. *Hargittay. Webster Library) Blackson. FOFA Gallery. 6-17. Curatorial Initiatives and the Transformation of Exhibition Practices *Coming through the Fog: les rencontres de Matthieu Brouillard et Donigan Cumming Curated by Erin Silver. no. "Curating Now: An Informal Report. "Rejection of Museums!" Third Text. Montréal. 4 (December 2002): 13-20. 18 (2004): 645-648. al. with Feeling: Reenactment in Contemporary Art and Culture. (on reserve. a Survey and Some Issues for Consideration. "Digital Ontologies: The Ideality of Form in/and Code Storage: Or: Can Graphesis Challenge Mathesis?" Leonardo 34. C. no. Virtual Museums. "Once More. no. McDermott. and Archives. R. no." Canadian Art. Irvin. 8 . Journal of Cultural Heritage 10. 4 (October 2009): 385-397." Art Papers 29. "Elsewhere in Contemporary Art: Topologies of Artists' Works.E." Museum Management and Curatorship 21. 520-528." Curator 52. "The Media-enhanced Museum Experience: Debating the Use of Media Technology in Cultural Exhibitions.. 2012.. "Museums and Digital Rights Management Technologies. Concordia University. 4 (2011): 373-389. no." Museum Management and Curatorship 26. no." Art Journal. Irene E." Searcher 13. et. 5 (May 2005): 8-12. Québec March 19 – April 20. no." Art Journal 65. Writings. Pantalony. no. R. Maggie Burnette. "Museums and the Shaping of Contemporary Artworks. Osmolovsky.

no." Dimensions 25 (January 2012): 34-35." Fillip no. *Princenthal. The Exhibition Catalogue: Digital versus Print Publishing *"The Aesthetics of Publishing: The Art Book as Object from Print to Digital. Christophe. "Party of Two. and Charles." "Que font les commissaires? / A Study of Curators and Curating. 10 (2009): 112-117. no. 15 (Fall 2011): 52- 63. tr. Chan. 13 (2011): 28-37. *Sholette. Hsiang-Yi Liu. Gregory. and Be Happy!" European Photography 31. 16. Autonomy: In and Beyond the Contemporary Art Museum. *Trezzi. 24. 2008): 259-274. "Vom Glück des Selbstverlegens / Self-Publish. Angela. Christian. "From the Populist Museum to the Research Platform: New Art Exhibition Practices Today. Penwarden. 2 (Winter 2009): 319-331. 95 (February 2012): 32-34. no. "The Art of Curating. Betsy. "Art." Third Text. 2 (2002): 153-166.*Kihm. Conceptualizing Exhibitions: The Interrelations of Real and Virtual Productions Adamson. Betrayal. no. and Joseph del Pesco. Carson. Objectivity. "Shared Creativity in Exhibit Development. no. "Measures of an Exhibition. 3 (2011): 39-47. Nicola. "The Practice of Everyday (Media) Life: From Mass Consumption to Mass Cultural Production?" Critical Inquiry 35. "Curating in the Time of Algorithms. Kouwenhoven. no." Flash Art (International Edition) 43 (2010): 62-66. *Manovich. Globalisation and the Exhibition Form." Fillip no. no. Dunham." Art in America 97. "Using Online Communities to Attract Museum Visitors. Nancy. "Inclusivity. Donald. 88 (2010): 68-73. Alison. Dimitrakaki. Express Yourself. and The Ideal: The Museum as Utopian Space. Vicky Chainey. "Fidelity. 3 (2012): 305-319."" Art Press no." International Journal of Education Through Art 4. 364 (2010): 55-62. 1 (2008): 39-58. *Gagnon." Visual Resources: An International Journal of Documentation. Lev." Etc no. 3 (January 3. 9 . no. Nagler." Third Text 26. Bill." International Journal of the Inclusive Museum 3.

no. 4 (Winter 2008): 38-55. Grant. "A Narrative of 'What Wishes What It Wishes It To Be': An Introduction to 'Creative Writing and Art History'. Suzanne. no. 34." Michigan Quarterly Review 48." Art Journal 67. 4 (Winter 2008): 8-11. Christopher. Alan. 3 (2005): 78-83. "Two or Three Things I Know about Artist Interviews. and Lisa Pasquariello. *Lyon. Burton." Art Journal. Rhea. "The End of the End of the Book: Dead Books. no. Catherine. Tim.Liu." Art Journal 64." Art Journal 64. 2005): 50-61. 8 (2006): 47-55. and Social Computing. 1970-76."“Ask Somebody Else Something Else”: Analyzing the Artist Interview." Art Journal 67. 3 (2005): 46-49. 4 (October 15. 3 (October 15. *Hudson. no. *Burton. "Why and How Do We Work on Living Artists.ca/search/p?SEARCH=Lerner 10 ." Art Journal 67. "Response: Proximal but Divided. "Artists Sometimes Have Feelings." Art Journal 67. no. 64. "The Art Book's Last Stand?" Art in America 94. Interviewing Artists and Writing about Art Allen." Art Documentation 28. Webster Library http://clues. no. Gwen. Richard. Lively Margins. *Whalen. *Anastas. "A Response. 3 (2005): 70-77. "What's Wrong With This Picture? An Examination of Art Historians' Attitudes About Electronic Publishing Opportunities and the Consequences of Their Continuing Love Affair with Print. 4 (2008): 33- 37. 2009): 499-520. "'Method Acting': The Artist-Interviewer Conversation. Books on Reserve. *Tuchman. 2 (2009): 13-22. *Griffin." Art History. no. Maureen. "Against Criticism: The Artist Interview in “Avalanche” Magazine. Johanna.concordia. no. no 2 (2011): 230-243. no. *Meyer. Phyllis." Art Journal 64. 4 (2008): 56-59. no. Johanna.