S. kimmerle master presentation


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S. kimmerle master presentation

  1. 1. Collaborating with Artists in Museums of Contemporary Art Sarah A. Kimmerle SFSU, Museum Studies sarahkimmerle@yahoo.com www.linkedin.com/in/sarahkimmerle
  2. 2. Name the Art Work One of the images below is an artwork, the other is a museum program. Can you tell the difference? Museum Program MAH, in-gallery opinion board for Work in Progress (2013) Art Work Ted Noten, Drive-thru Photobooth (2010)
  3. 3. Name the Art Work Museum Program Rubin Museum of Art, “The Dream-Over” where adults are invited to sleepover in the museum next to an inspirational work (2010) Art Work Carl von Hausswolff, Andrew McKenzie and Ulf Bilting, Exchange of Mental, Physical and Unknown Matter During a Period of Four Nights (1996)
  4. 4. Name the Art Work Art Work Jeremy Deller, The Battle of Orgreave Archive: An Inquiry to One is an Injury to All (2004) Museum Program New Museum, exhibition We Who Feel Differently (2011) featuring the work of Carlos Motta
  5. 5. Case Study I: Museum of Art and History, Santa Cruz Work in Progress (December 2012-March 2013) is a museum-wide exhibition that reveals the artistic process. Here “Beautiful Loser” artist Thomas Campbell developed a 75 x 12 foot mural in the museum over three months.
  6. 6. Case Study III: Middlebrough Institute of Modern Art Museummaker connected jewelry artists Lin Cheung and Laura Potter with a mima patron, Charlotte Wood. Through this mima sponsored project, Wood commissioned and now partially owns an original piece of jewelry.
  7. 7. Case Study II: Museum of Contemporary Art, Chicago The Mark Bradford Project was a nine month residency program with L.A.- based artists, Mark Bradford. Bradford mentored students from Chicago public schools and, along with an MCA staff working group, mounted an exhibition of student work.
  8. 8. Audience Involvement Spectrum SPECTATING •Claire Twomey's Monument •Ines Tartler's Autogarage •Mark Bradford's The Mark Bradford Project ((Re)Connect student exhibition) ENHANCED ENGAGEMENT •Thomas Campbell's Work in Progress •Joseph Beuys' 100 Days of Free International University •Paul Chan's Waiting for Godot (play & guest lectures) •Jeremey Deller's Battle of Orgreave (archive & exhibition) •Tania Bruguera's Catedra Arte de Conducta (lectures) CROWD SOURCING •Ted Noten's Drive-Thur Photobooth •Paul Chan's Waiting for Godot (shadow fund) •Jeremey Deller's Battle of Orgreave (oral history) CO-CREATION •Mark Bradford's The Mark Bradford Project •Mark Bradford's Mithra •Mah Rana's Meanings and Attachments •Tania Bruguera's Catedra Arte de Conducta (social intervention performances) AUDIENCE-AS- ARTIST •Lisa Cheung and Larura Potter's Pas de Deux •Jeremey Deller's Battle of Orgreave (re- enactment)
  9. 9. New Museology: Theory and Practice Theory • Emerged in late 1980s • Museums are political spaces • Museum are identity-shaping spaces • Through exhibition, museums create hierarchies and spectacle • Theoretical models: Temples, Forums, Contact Zones or Invited Spaces • Main contributors: Peter Vergo, Stephen Weil, Sharon MacDonald, Tony Bennett, Donald Preziosi, John Cotton Dana, Clifford James and Fiona Kaplan Implications on Practice • Visitor Studies Association Founded in 1990 • Understanding of “museum experience” • Understanding of the visitor • Multi-modal, visitor-focused programs and exhibitions • Long-term investment in community engagement • Restructured organizational charts • Main contributors: John Falk, Lynn Dierking, Edward Gardner, Alan Brown, Mark O’Neil, Kathleen McLean, Mark Moore and American Association of Museums
  10. 10. Participatory Art: Theory and Practice Theory • Early forms of Participatory Art constructed situations or “alternative realities” that reveal power dynamics in everyday life • However, in this parallel platform power dynamics were often replicated not altered • Co-creation of work with audience is solution to this ethical dilemma Implications on Practice • New art forms: social practice, socially-engaged art, community-based art, experimental communities, dialogic art, collaborative art • Art is socially inclusive • Art is part of life or functional • Practices produces an art project, not an art work • Artist becomes educator
  11. 11. Recommendations 1. Museums must embrace Social Practice and Participatory Art 2. Museums must continue to support progressive forms of art 3. Support curatorial research addressing aesthetic and ethical questions of social practice 4. Mirror external collaboration in internal organizational structure 5. Develop a culture and practice of reflection