All course materials launched to the blog address = SP2017sa351caz.blogspot.com
Museum as Medium
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The potential of the curator as creator - Those who create and question the physical frame
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| The Solomon R. Guggenheim Museum . NYC Located at 1071 Fifth Avenue on the corner of East 89th Street in the Upper East Side of Manhattan |
SA351 is an exhibition, gallery and museum practicum that inquires into the specificities of site.
Through our investigation we will learn how collections speak of power (whose doing the collecting and what is being collected), politics, practice & participation.
Course Description
A museum can be used as a physical text about a specific topic. One can say that many historical, natural history and cultural museums are about the past.
It can also be said that museums, and their collections, structure our knowledge.
SA351 is a structured course that provides an introduction to the design, administrative and behind the scenes workings of museums, galleries and the practice of collecting.
Museum as Medium examines what roles museums and galleries play in culture as they interface with community as a functional site.
This course is aimed for students who are interested in all aspects of gallery work and museum collections while also assisting students in preparations for future opportunities in exhibiting their own work, working in archives, and other similar institutions.
As a shared research and gallery practicum course, the course introduces students to the role of the museum; the makeup and functions of museums; galleries and collections; the role of the curator in the museum field; especially in the areas of collection management and exhibit preparation.
This course serves as an opportunity for students to discover practical information that focuses on collections, galleries and museums including: special collections, archives, art galleries and museums, historical, cultural, scientific and natural history museums.
We will pay specific attention to question of how museums shape histories and narratives; using particular organization strategies; deciding on what to collect (or not collect); exhibition design; the design of architectural flow; each that often demonstrate authoritative knowledge while allowing visitors to raise questions.
The Art Gallery in Reisman Hall serves as a lab for this course, allowing each student to put their working knowledge into practice in the handling of art work, the installation of work, gallery and exhibition preparation, wall text and label composing, de-installing of work, packaging and shipping.
In addition, practicum site visits to the college’s Library’s Special Collections & Archives, Stone Quarry Hill Art Park, the Hubbard Collection at the Public Library, The Lorenzo House, The Everson Museum of Art, and a conservation fine arts studio will give first hand information of behind the scenes information provided by curators, gallery directors and archivists of these regional institutions.
Course Objectives & Outline of Topics
Students who successfully complete this course will understand the basic functions of the museum / galleries including historical, cultural, art, scientific and natural history collections.
Students will gain a basic Introduction to how museum collections came to be during the Renaissance period, the history and creation of Wunderkammers, The American Museum & Charles Willson Peale.
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Charles Willson Peale was an American painter, soldier, scientist,
inventor, politician and naturalist. Philadelphia PA |
Throughout the course, the student will understand the basic core architecture of museums while gaining a deeper understanding of the social and cultural roles of such institutions play today.
SA351 presents students with the opportunity to understand different policies of collection management, including: accessioning and disposal of objects, documentation, cataloging and data collection, display/exhibition planning, installing, basic care and conservation of artifacts.
Students will gain an awareness to what constitutes exhibition planning & concepts: The psychology hoped to experience by the museum visitor, interpretation of artifacts, permanent and temporary exhibitions, curatorial planning, conceptual installation planning, orientation and environment, special needs visitors, presentation techniques, text and labels, the catalogue: essay & documentation, exhibition evaluation, exhibiting art in non-traditional sites: Museum without Walls.
Students will have the opportunity to discover actual museums throughout the world on the internet through virtual tours. Students will research and keep a working record of the unusual found, North American museum collections that are “off the beaten track.”
Students will have the opportunity to put their knowledge to practice with hands on work experience in the Art Gallery in Reisman Hall for the installation of the Annual Juried Student Exhibition, as well as one professional exhibition, and the possibility with collaborating alongside the
BFA Senior Candidates from Studio Art and Photography as they plan and install their Thesis Exhibitions in the gallery.
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| Collection of the MoMA In Advancement of a Broken Arm, a Ready Made |
Considering Marcel Duchamp’s In Advancement of a Broken Arm (1964) [GO TO: MoMA link for more information] and other examples, present students with information of how the interpretation of an artifact has the ability to transform in various contexts. Projects from the common snow shovel (above), to the exotic, the Bell Jar, the vitrine and beyond.
Students will have the opportunity to create fictional artifacts and realize them in three-dimensions. While each student will present a final multi media projects as Guest Curator: creating and planning, concept and design, object collecting, label construction, wall text written document, artifact check list, installation architecture/ floor plan schematics, curatorial essay, catalogue essay, digital image collection, three dimensional maquette realization in their creation of The Virtual Gallery Tour.
Seeing an exhibition through from start to completion will put into practice various exhibition development techniques, extensive writing, research, documentation and presentation. The multi media project will serve as the culminating document for the course.
This course will provide students with an educational experience in the museum /archiving field while improving problem solving and critical thinking skills.
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Ernst Haeckel . 1834 - 1919 . German
Ernst Heinrich Philipp August Haeckel was a German biologist, naturalist, philosopher, physician, professor, marine biologist, and artist who discovered, described and named thousands of new species. |
Field trips to various museums and galleries will provide students with direct working experience and gained knowledge of regional institutions including:
The Cazenovia College Library: Special Collections & Archive
Stone Quarry Hill Art Park, Cazenovia
The Lorenzo House, Cazenovia
The Hubbard Collection in the Public Library
Westlake Conservation Studios, Skaneateles, others
Snapshot of the course
• Introduction to museums & collecting and the purpose they serve
• History of museums and history of collecting as a functional site
• Museum definitions, types and functions i.e. commercial, educational, historical, multi-arts, interdisciplinary, experimental, public spaces, venues without walls, etc.
• Collections & exhibition management, permanent vs. temporary installations > collecting collections
• Archiving, cataloguing, wall text + other need of writing, need of web sites
• Gain awareness in the various professions in museum + gallery work
• Collecting and disposal policies and practices
• Documentation and marketing
• Contracts and documents, data base of artifacts
• Storage, packing, handling and installing
• Security and insurance collections-based research
• Become aware of current issues and philosophical questions surrounding museums and collections
• Understand the role of the museum/gallery visitor and their needs
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| a knick knack cabinet of treasures |
Methods of instruction & classroom procedures
This course will function as a lecture / studio workshop / on-site practicum course, where information is exchanged primarily through discussion between students, faculty and through on-site visits.
Class time will be spent in discussion of articles, slide presentations, studio workshops, critique, research collecting, multimedia presentations and fieldwork.
Students will work independently as well as collaboratively in small groups.
Students will work alongside the Gallery Director for hands-on preparatory full gallery experience and will collaborate with BFA Studio & Photo Program Seniors as they prepare their Thesis Exhibitions.
Student responsibilities & expectations
It is the student’s responsibility to be prepared with all assignments in a thoughtful and engaged manner.
Students need to be wary of time management concerns and restraints of the term. Should a student not understand an assignment fully, or have an idea of how to extend an assignment, the student needs to take the initiative and contact the professor.
Students need to check college e-mail accounts daily.
Students need to keep up with new course materials loaded onto the course Blog
Class Hours & engagement
The effort that each student invests in this class – in our campus and our studios – will be reflected in their work.
The grade a student earns will also reflect this time and effort.
I will hold you accountable to the potential I see in you and your work.
Make a commitment to this class and you will be rewarded with exciting growth in your artistic practice.
This commitment requires cooperation, hard work, dedication, creativity, motivation, and perhaps most critically - being open to input and new ideas and a willingness to receive mentorship.
Attendance, Participation, Professionalism: A strong showing in this category can increase your final grade by a half grade, i.e. c+ becomes b-, b becomes b+! >> However, a weak showing in this area can severely reduce your grade. <<
Evaluation
The quality of the semester is what students bring to it. It is expected that one’s participation is committed and remains active. Museum as Medium requires serious engagement in all facets of the semester’s preparations: readings, discussion, initiated participation, research, study, thoughtfulness in critical thinking and planning.
Students should set high standards for their own work.
It is important that the student be prepared to initiate discussion regarding current readings and come to class with thorough notes. Intellectual understanding and exploration of the readings and individual drive are significant factors in grading a student’s level of participation.
Hard work and improvement are recognized and therefore, will positively impact a student’s grade.
Lack of preparation, disengagement from course work, poor note taking, test scores, poor paper construction, avoidance of assignments and general lack of participation in discussion, incomplete and not prepared work will result in a lower grade.
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| a Cabinet of Curiosities |
Students are to attend class every day and be prepared with assignments, readings and papers always!
Tardiness and absences will greatly hinder student progress in this course.
Students who miss class, in an extreme case, are responsible for notifying faculty prior to class start time.
Students who are absent from a class are expected to be prepared with ALL assignments and readings due at the next class meeting.
Methods of evaluation
Grades are determined by the following:
40% 5 class assignments (in class creative work & research) including:
1. Personal Collections - photographs, data collection, labeling > 5%
2. Bell Jar / fictional artifact + text essay, labels, media release > 5%
3. Museum Preparations: Data Collection and organization, Accessioning and deaccessioning, Grant writing and publicity > 5%
4. Off the Beaten Track & Site Visits, 15 Virtual Galleries by the end of the term & actual Site Visit information > 10%
5. Exhibition Prospectus creation & selection > 5%
6. Install & Deinstall Practicum of Gallery work > 10%
10% Mid Term Collection Survey of "off the Beaten Track" museums & multi media project presentation in class
20% A Living 'Class Museum' Repository: A Journal that holds all of your course materials collected and composed of the following:
1. Thorough notes taken from our readings and other handouts
2. North American Museums: that denotes the type of Found Collections off-the beaten track entries, 15 minimum by end of term
3. All course notes, discussion notes, ideas and handouts
4. 2 page minimum of Practicum Site visits to various museums & galleries. Noting website URL / concept of collection / design / floor plans / artifact display and some thing of exceptional interest to you / uniqueness within display design (hand in one week following each visit for grading)
5. A thorough Works Cited bibliography of all materials used, including URLS of virtual museums and galleries
6. Notes on all videos, media sources including TEDtalks, etc.
7. The creative form the 'Class Museum Repository' takes beyond a simple note book
20% Final Student Virtual Gallery Tour: hardcopy & digital multi- media presentation
10% overall student preparation, participation, class investment
TOTAL = 100% of final grade
Standards for evaluation + grading overview
- Grades are based on a number of factors that include class participation, attendance, attitude, effort, project execution, project evolution and improvement.
- It is important that the student be prepared to initiate discussion regarding current readings and come to class with thorough notes.
- Intellectual understanding and exploration of the readings and individual drive are significant factors in grading a student’s level of participation.
- Superior excellence in all of these areas, on a continual basis will earn an “A” for the course.
- Continuing to show improvement and quality of work is constantly well executed, will earn a “B” for the course.
- Fulfilling the requirements of the course is considered average and will earn a “C”. Grading is an individual process, but general standards will be used to evaluate your performance in order to assign a letter grade and will be presented to you following major projects on the attached EVALUTION RUBRIC. Assignments will be the primary source of your grade and you will be expected to work outside of class approximately one hour for every hour of class.
- Informed speculation and experimentation are encouraged.
It is important that the student be prepared in the course and initiate discussion regarding their research and projects.
- Intellectual understanding and exploration of the readings and projects, ability to initiate research, and individual drive throughout each project are significant factors in grading a student’s level of participation.
Hard work and improvement are recognized.
Therefore, in addition to completing exquisitely crafted projects, engaged work and participation will positively impact a student’s grade.
Lack of preparation, disengagement from his/her work, avoidance of critiques, lack of participation in discussion, incomplete and not prepared work will result in a lower grade.
Should a student be performing below an adequate level, the student will be notified as soon as it is evident and a meeting will be scheduled to address deficiencies. Assignments will b e considered in terms of concept, execution, craftsmanship, inventiveness and risk-taking.
Quality participation is characterized by the following:
• On time attendance at each class meeting.
• Active, enthusiastic participation in class discussions and with the studio work at hand.
• Student exhibits on-going effort and takes risks in studio practice.
• Preparation and understanding of assignments in studio, research and presentations. Student continues to ask thoughtful questions
• Responding to others’ comments in a responsible and constructive manner. Making a conscious effort of critique suggestions
• Contributing regularly and mindfully of others
• Leadership and active participation independently and in small group activities
A student’s work performance in class is based on the instructor’s observation and record of the student’s personal performance in the following areas:
• Attitude, demeanor – courteous, respectful, teachable, considerate of other students’ needs for concentration.
• Attendance, punctuality, and handing in work on time.
• Participation in class projects, in critiques and discussions, within collaborative projects.
• Conduct – Helping to create an atmosphere conducive to creativity and keeping the workspace neat.
Your projects will be evaluated according to the following criteria: your solution to assignments, technical execution, conceptual cohesion, evidence of individual growth (technically and conceptually), making use of the vocabulary presented throughout the course practice, during class and presentations.
Standards of Grading
The typical "A" student will consistently follow all of the steps in the creative process, resulting in work that is beyond the students’ previous technical, conceptual and expressive capabilities. Attend all classes and complete all assignments on time; follow all instructions, demonstrate above average skills and creativity in completing assignments, turn in consistently good work equally important, the A student will conduct research, integrate information from other classes and experiences, follow through on ideas, not opt for an easy way out, will hand in work on time and in a well presented manner, will participate fully in class, ask questions and do extra work when needed in the pursuit of knowledge and greater ability. The work produced is exemplary and sets a benchmark for other students; actively participating in class discussions and critiques with a sustained high level of curiosity. In short, the A student will be a responsible and active learner throughout, while completing stellar work.
The “B” student will attend all classes and complete all assignments on time; follow all instructions, demonstrate above average skills and creativity in completing assignments, turn in consistently above average, good work though some further development of knowledge and skills is possible; frequently contribute to discussions and critiques and complete good work overall.
The typical “C” student will have less than perfect attendance; complete all assignments with average skills, attitude and creativity demonstrating limited commitment to the learning process, average use of materials, and ideas that need further development. Occasionally contribute to class discussions and critiques. The “C” student performs average work.
The “D” student has poor attendance; seldom meet deadlines, have an unconcerned attitude; work below average; contribute very little to class discussions and critiques.
The “F” student continues to display poor attendance; seldom meet deadlines; turn in poor work; has a poor attitude, and/or impervious to the learning process. This type of student will fail the course.
All assignments are to be completed in a thoughtful and timely manner.
The grade of “C” indicates an adequate level of overall work to gain credit for the course; a “B” means a student has achieved a more than adequate level of work. To excel, as indicated by an “A” requires a superior level of skill, concept, quantity, professionalism, risk, and a surpassing depth of SA351 seriousness. Moving beyond a “C” in this course will require your very best efforts in all areas of your artistic development.
Undergraduate Grading
Grades calculated in grade point average (GPAs) as follows:
A = 4.0 A- = 3.67
B+ = 3.33 B = 3.00 B- = 2.67
C+ = 2.33 C =2.00 C- = 1.67
D+ = 1.33 D = 1.00 F = 0.00
A 93-100
A- 92-90
B+ 89-87
B 86-83
B- 82-80
C+ 79-77
C 76-73
C- 72-70
D+ 69-67
D 66-65
F 64 or below
Course Policy
The atmosphere throughout this course is to create a community of active learners.
We need to realize that world experience produces difference in all people.
Our differences often make communication and understanding difficult to comprehend, or even agree with, when considering the ideas of others.
We need to create a safe space where individuals can interject their ideas even if they may not be reflective of others.
Our space needs to be one where people are encouraged to take risks, and not worry if they don’t have the ‘right’ answer, and have the space to take a wild guess by connecting earlier information together.
Each of us need to remain active participants in the world of learning.
Our course together asks you to cultivate a relationship of mutual respect between each other and the work at large, your faculty, Master Students and outside guests. This respect, and is hoped, may extend outside the walls of this community into the world in general. The key is to listen and be considerate of all people.
Confidentiality
Self-expression and honest reflection will take place through our discussions, studio and written work. It is expected that each student will recognize that s/he will be privy to personal information about others in the class and must protect their privacy of the others by exercising strict confidentiality outside of class. When discussing class content outside of class it is recommended that all identifying descriptors be removed from statements so that the statements cannot be attributed directly to the individual who had made the statement. Respect for others is mandatory and non-negotiable. Please note that failure to adhere to confidentiality is a serious offense carrying severe penalties.
Bibliography for further readings & resources:
• Ambrose, Timothy and Paine, Crispin. Museum Basics. London & N.Y.: Routledge and ICOM, 1997
• Alexander, Edward, P. Museums of Motion: an introduction to the history and functions of museums. Nashville: American Association for State and Local History, 1979
• Belcher, Michael. Exhibitions in Museums. Washington, D.C.: Smithsonian Institution Press, 1993
• Bloomer, Carolyn, M., Principles of Visual Perception. New York, N.Y.: Van Nostrand Reinhold Co., 1976
• Burcaw, Ellis, G. Introduction to Museum Work. Walnut Creek, C.A.: AltaMira Press, 1997
• Commission on Museums for a New Century. Museums for a New Century. Washington, D.C.: American Association of Museums, 1984
• Gregory, Richard, L. Eye and Brain: The Psychology of Seeing. Princeton, N.J.: Princeton University Press, 1997
• Hein, George, E. Learning in the Museum. London, New York: Routledge, 1998
• Hein, George, E. Museums, Places of Learning. Washington, D.C.: American Association of Museums Education Committee
• Meyer, Karl, E. The Art Museum: power, money, ethics. N.Y.: Morrow, 1979
• Newhouse, Victoria. Toward a New Museum. N.Y.: The Monacelli Press, 1998
• Reibel, Daniel, B. Registration Methods for the Small Museum. Walnut Creek, C.A.: AltaMira Press, 1997
• Sherman, Lee, E. (editor). On Understanding Art Museums. Englewoog Cliffs, N.J.: Prentice- Hall, 1975
• Witteborg, Lothar, P. Good Show: a practical guide for temporary exhibitions. Washington, D.C.: Smithsonian Institution, 1981 (AM7 W57 1981)
• Caring for Collection. Washington, D.C.: American Association of Museums, 1984 (Conservation)
• Davis, Douglas. The Museum Transfer. N.Y.: Abbeville Press, 1990 (Museum's Architecture)
• Dolloff, Francis, D. and Perkinson, Roy, L. How to Care for Works of Art on Paper. Boston: Boston Museum of Fine Art, 1985 (Conservation)
• Levin, Michael, D. The Modern Museum: Temple or Showroom. Jerusalem: Dvir Pub. House, 1983 (Museum's Architecture)
• Schwarzer, Marjorie. Graduate Training in Museum Studies. Washington, D.C.: American Association of Museums, 2001 (General)
• Snyder, Jill. Caring for your Art. N.Y.: Allworth Press, 1996 (Conservation)
• Sternau, Susan, A. Museums: Masterpieces of Architecture. N.Y.: Todtri, 1999 (Museum's Architecture)
• Thompson, John, M.A. (editor). Manual of Curatorship: A Guide to Museum Practice. London: Butterworths, 1986 (General)
Magazines and Newsletters:
1 Museum News: the magazine published monthly by the American Association of Museums, Washington, D.C. (available at the Des Plaines Campus library)
2 AVISO: the monthly newsletter of the American Association of Museums, Washington, D.C.
Professional Organizations:
1 ICOM: The International Council of Museums, Paris, France
2 AAM: American Association of Museums, Washington, D.C.
3 IAM: Illinois Association of Museums, Springfield, IL
4 ACUMG: Association of College and University Museums and Galleries
Academic Honesty
Cazenovia College is committed to academic honesty. The Committee on Academic honesty reviews all reported cases of alleged plagiarism, cheating on examinations, undocumented copying of art, and similar forms of academic dishonesty. At the beginning of each full academic term, all new students receive a comprehensive orientation to the College's expectations regarding academic honesty. It is expected that each student in this course will carry out all the assignments appropriately and that all work submitted by the student will be her or his own. Academic dishonesty in any form (e.g., cheating in exams, using another's plan or project, fabricating a study, plagiarism, etc.) is a serious offense with severe penalties. At the very least, the student will receive an F on the particular assignment or exam in question. Cazenovia College’s policy for students who abuse the academic honesty policy are as follows: First offense the student is given a warning. Depending on the circumstances, the student may fail the course. Second offense is reported to the Dean of Faculty and depending on the circumstances, the student may fail the course. Third offense, depending on the circumstances, the student may be dismissed from the college. A description of plagiarism and other forms of academic dishonesty are to be found in the on-line Student Handbook @ www.cazenovia.edu
The Center for Teaching & Learning (CTL)
A description from the Cazenovia College catalogue states:
“Students are expected to succeed within a challenging intellectual environment.”
It is not unusual for students to need assistance in maximizing their educational growth in a variety of areas during their four years at the college. The Center for Teaching & Learning assists students in these efforts and making appointments with their faculty when trouble arises. Make an appointment well in advance (1.5 weeks minimum) at the Center to assist you in the writing process. The Center should be used throughout your career at the college to help you in the refinement and organization of your writing examples. 315.655.7296. I am here to help you with your on going work as well. See my office hours posted or make an appointment with me two days in advance of a meeting.
Special Educational Needs
Any student who requires special accommodations for classroom work, independent assignments, and/or examinations should notify the Office of Special Services at 315-655-7170. The Office of Special Services will grant students accommodations in accordance with their identified individualized educational plans. Students with accommodations are responsible for informing their instructors of their needs and giving them the accommodations report provided by the Office of Special Services.
Cell Phone Policy
Use of cell phones and/or text messaging during class is strictly prohibited. Students are also prohibited from cell phone usage during field trips and speaker presentations. Please place your phones on vibrate. Cell phone usage in class or while on field trips or speaker presentations will negatively impact a student’s final grade.
Statement of Understanding
I, __________________________________, have received and read the course syllabus for SA351.01. I acknowledge that as a student enrolled in this course, I am responsible for adhering to the policies, procedures and course requirements outlined in the syllabus. I understand that it is my responsibility to contact the course instructor if I require further clarification regarding any aspect outlined in this syllabus.
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Student Signature + Print
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