How to write a curatorial thesis - …
Although the idea of choosing serigraphs from a collection set boundaries around the selection of prints, it gave us a departure point from which to think with and explore. My curatorial intentions lay not in a desire to explain the entirety of messages and layered meanings of these images, but rather to locate points of shared experience/knowledge that could be exchanged in our conversations, and in the viewing of the prints in the gallery. Viewers are able to sense connections to place through both visual and audible cues, and this, I hope, will promote intellectual and emotional engagement with the exhibit. Although the audiences’ levels of involvement will decidedly vary, the serigraphs and their corresponding narratives, ask the viewer to consider different connections to place. These connections include the ways in which space is phenomenologically experienced; this may include memory, song, dance, performance, sounds, smells, feelings, etc. These connections do not rely simply on visual descriptors; rather, they involve embodied knowledge that is central to cultural continuity and knowledge transmission. Perhaps the emphasis of these phenomenological connections will prompt the viewer to differently contemplate the ways in which they experience the spaces closest to themselves.
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Shot in a Chinatown storefront converted for this occasion into an improvised kitchen/restaurant, the film documents three days of public conversations between artists, critics, curators, and a free floating public.
This specialist degree provides a high status and professional qualification suitable for graduates wishing to enter the museum profession in Australia or overseas as curators, exhibition organisers or researchers.
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An important operative aspect of serigraphs is their utility as a learning tool. Karen Duffek, a curator of Northwest Coast art at the Museum of Anthropology at UBC (in interview, July 14, 2011) mentioned this in our interview when she referred to the “Joe David generation,” in which many Nuu-chah-nulth artists learned about their specific art style through working with and studying serigraphs. Serigraphs pass down specific knowledge about the use of design that is specific to particular Indigenous communities. Edward Joe (in interview, August 10, 2011) explained that there are specific guidelines in design that his ancestors left for him, things need to be placed in a particular way and that “culturally, they mean something;” at the same time, he tries to make these forms new and different. An example of his process can clearly be seen in his work included in the exhibition, especially the serigraphs (U998.7.41) and (U998.7.40), where he combines traditional formline designs with photo-realistic depictions. Johnny (in interview, August 10, 2011) talks about how art was used to record his Coast Salish peoples’ history, explaining that certain people were paid to witness important aspects of that history, and the art was used to reflect these events. Johnny (in interview, August 10, 2011) also explains how some of his prints reflect the current political environment for Coast Salish peoples. He uses his (L010.3.404) serigraph as an interesting example:
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Comprising a series of twenty conversations conducted by Thorne with the artists, curators, and educators behind these schools, the book maps a territory at once fertile and contested.
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This publication presents various visual and textual materials of the residency’s three participating artists, Annika Eriksson, Susanne Kriemann, and Agnieszka Polska, including the “results” of their invited ghostwriters who translated the experience of the artists and curators into literary fiction.