Curating in the Expanded Field (3500)

Department of Arts Administration and Policy

SAIC Fall 2024, 3 Credit Hours

Tuesdays – August 28, 2024 to December 16, 2024

reserved time block is 3:30 PM - 6:15 PM U.S. Central

Classroom: Lakeview 1427

Backup virtual classroom Zoom link: https://saic-edu.zoom.us/j/7291982000

Faculty: Asha Iman Veal, Associate Professor Adj. SAIC

Associate Curator at Museum of Contemporary Photography (Chicago)
www.saic.edu/profiles/faculty/ashaimanveal
www.ashaimanveal.com
office hours: by appointment

Fall 2024 reading files: https://bit.ly/ExpandedField2022

“The term ‘curating’ is used as the technical modality of making art go public. It is a craft that is
involved in much more than making exhibitions—beyond the walls of an institution as well as
beyond what are traditionally called programming and education. This is ‘curating in the expanded
field.’”
– Maria Lind, from Performing the Curatorial

Course Description and Learning Goals

This course presents curatorial practice as a dynamic form: actively engaging and able to assemble
artists, publics, and more; generating projects and moving objects across figurative and literal spaces.
Our goal is for analysis and understanding, as a means to illuminate innovation and to trace pathways
through the many options contemporary art worlds hold. Through theory and example, we will explore the
history and development of a curator’s role—with a focus on the expanded field, whether through their
institutional partnership or independent efforts.

We will focus on an individual or discrete selection of seminal exhibitions and curatorial projects, that took
place primarily between 1984 and the present, across global borders and on five continents. Projects will
be discussed in relation to the week’s background and scholarly texts. From an arts administrative
perspective, we offer critical investigation of project models, and discourses on practice. Touching on the
art historical realm, this course presents exhibition histories.

Exercises and readings will inspire students to begin to develop a vision for their own curatorial practice—
and their project-building savvy—for now and in future.

Individual Evaluation and Assignment of Grade:

Evaluation will be based on the following, as well as class participation overall.

1. CLASS PARTICIPATION
Together we will uphold a classroom environment that offers respect and a comfortable space to all
participants. Please think of this course as a studio or lab where students can engage and experiment.
Active participation in class discussions is essential to our learning process. Students are expected to
participate consistently in every discussion. Additionally, all field trips and sessions with guests are
dialogue sessions—not passive presentations.

2. REQUIRED READING,TOPIC RESEARCH, AND TEXT LEADERSHIP

It is essential and expected for all students to complete the readings each week. We will spend much time
together in class discussing these written works in relation to the week’s focal curatorial projects and
exhibitions. Our reading list for the semester includes a diversity of styles and voices, all sure to be
engaging. Please note that each week offers a mix of “light” and scholarly readings; and although we
cover many sources, page counts for each are generally low, as to make the week’s total reading
manageable. Readings for the second half of the semester will be noticeably fewer/lighter than in the first
month of class, because: – a foundation has been laid; – students will begin thinking more about their
own curatorial goals; – we will have more field trips an project time; – to increase in ease as the SAIC
semester overall becomes busier for everyone.

Again, it is key to complete and engage in the weekly readings. Taking notes as you read—and bringing
the notes to class—will likely be helpful to your participation.
Curating in the Expanded Field, SAIC Fall 2024, Faculty Asha Iman Veal, syllabus p. 1
—TOPIC RESEARCH
Each student will work in a team of three, once during the semester, to lead the first hour of content for
the class. The goal is to expand upon the week’s readings with additional, complementary sources and
examples. Specifically, this can include 1) a brief overview of the author, 2) a brief description of how the
text might fit into the author’s other writings or work in general, 3) a summary of the salient points of the
text and how they are supported by sources, 4) your perspective on how the text might complement the
class discussion, or 5) whatever else may be of interest to the discussion leader. Topic leaders should
feel free to bring in additional, complementary sources and examples.
Students will meet with the course instructor the week before their turn to lead, to help identify resources
and plan the presentation.

—TEXT LEADERSHIP
Additional students will be responsible for informally co-steering text discussions each week as a means to
introduce the reading/author to the class to begin discussion. Be aware that you do not have to agree with
an author to lead a text. Please focus on 1) a summary of the salient points of the text and how they are
supported by sources, 2) your perspective on how the text might complement the class discussion.

3. SEMESTER/FINAL PROJECT: CURATORIAL PROJECT PROPOSAL

Recalling the exhibitions and curatorial projects presented as models, students are encouraged and
required to conceptualize their own exhibition or curatorial project. This can be a “dream” project of great
imagination, where “the sky is the limit” (i.e. design and re-conceptualize your own Documenta 11). Or a
more immediately achievable project (i.e. a project proposal that the course instructor will help you to submit
to the display cases outside of the Joan Flasch Library here at SAIC; or the SUGS/SITE gallery, or Neiman
Center lobbies; or to a festival or venue outside of our school community).

Proposal concepts will be workshopped throughout the semester through various modes: one-on-one with
the instructor, in pairs and small groups with classmates, and in the full group. Students are highly
encouraged to keep a concept notebook throughout the semester, to share and add to their notes during
meetings.

Proposals are due on the last day of class:

Final proposals must be 10 pages (2,500 words) and consist of: Title of Exhibition, Main Concept
Overview, Context within Curatorial Histories and Discourse—comparing your project to one we’ve
studied together this semester, Curator’s Statement, and an Outline of Programming, Venues, Artists, and
Additional Collaborators. Additional pages of images, drawings, etc. are welcome.

Presentations will take place on the last day of class.

The content of your final proposals will be presented to the class along with or as a PowerPoint of images.
HOWEVER please feel free to be creative and not restricted to a “standard” presentation format. Images,
audio, etcetera, are all welcome and encouraged.

4. ADDITIONAL REQUIREMENTS
Attendance
Be on time.
SAIC policy states that students are expected to attend all classes regularly and on time.
If a student misses MORE THAN TWO CLASSES, whether or not for a reasonable cause, the student will
be in danger of failing the class.

Digital Devices
Use of digital devices in class to do non-class related work will not be allowed or tolerated—and may count
against a student’s attendance.

Curating in the Expanded Field, SAIC Fall 2024, Faculty Asha Iman Veal, syllabus p. 2
ADDITIONAL INFORMATION AND REQUIREMENTS OF SAIC

Attendance:
SAIC policy states that students are expected to attend all classes regularly and on time. Students should
miss class only with reasonable cause. If a student needs to miss class with reasonable cause, it is the
student’s responsibility to contact the instructor to receive instruction for how to make up for the missed
class. It is the instructor’s responsibility to give this information to the student as his/her/their schedule
permits. Missing class for other than a reasonable cause may jeopardize the student’s academic standing
in the class.

If a student misses MORE THAN TWO CLASSES, whether or not for a reasonable cause, the student will
be in danger of failing the class, if the student does not withdraw from the class prior to the deadline for
withdrawal with a grade of "W." Please look this date up on the school’s Fall Calendar.

Reasonable cause to miss a class might include: - Illness or hospitalization (the student should also contact
Health Services or their academic advisor, who will relay information to the faculty in whose class the
student is enrolled) - Family illness or death (the student should also contact their academic advisor, who
can relay information to all faculty) - Observation of a religious holiday (students are expected to notify their
instructors in advance to discuss reasonable accommodations for holidays they might observe).

Digital Device Policy:

Use of digital devices in class to do non-class related work will not be allowed or tolerated—and may
count against a student’s attendance. Similarly, use of digital devices in class during screenings will not
be allowed or tolerated. Student’s use of various digital devices in class such as laptops, phones, tablets,
etc. should be limited only to appropriate use given the lecture and discussion format of the class.

If a student has a software or hardware related problem please visit the CRIT Helpdesk on the 9th floor of
the 112 S. Michigan (Maclean) Building for assistance addressing these issues.

Academic Misconduct:
Academic misconduct includes both plagiarism and cheating, and may consist of: the submission of the
work of another as one’s own; unauthorized assistance on a test or assignment; submission of the same
work for more than one class without the knowledge and consent of all instructors; or the failure to properly
cite texts or ideas from other sources. Academic misconduct extends to all spaces on campus, including
satellite locations and online education. Academic integrity is expected in all coursework, including online
learning. It is assumed that the person receiving the credit for the course is the person completing the work.
SAIC has processes in place that protect student privacy and uses LDAP authentication to verify student
identity.

Additional resources for students: - Read “Plagiarism: How to Recognize It and Avoid It: a short guide
prepared by the Faculty Senate Student Life Subcommittee in 2004. - Read the Flaxman Library’s quick
guide titled “AVOID PLAGIARISM.”

Accommodations for Students with Different Learning Needs and Abilities:

SAIC is committed to full compliance with all laws regarding equal opportunities for students with disabilities.
Students with known or suspected disabilities, such as a Reading/Writing Disorder, ADD/ADHD, and/or a
mental health condition who think they would benefit from assistance or accommodations should first
contact the Disability and Learning Resource Center (DLRC) to schedule an appointment. DLRC staff will
review your disability documentation and work with you to determine reasonable accommodations. They
will then provide you with a letter outlining the approved accommodations for you to deliver to your
instructors. This letter must be presented before any accommodations will be implemented. You should
contact the DLRC as early in the semester as possible. The DLRC is located within the Wellness Center
on the 13th floor of 116 S Michigan Ave. and can be reached via phone at 312.499.4278 or email at
[email protected].

Writing Center Information:

SAIC offers free, hour-long writing tutorials at the Writing Center, which is located in the basement of
MacLean. Tutors are available to assist all currently enrolled students with any stage of the writing process.
SAIC Writing Center
312.499.4138
[email protected]
http://www.saic.edu/academics/academicresources/writingcenter/
Appointments Schedule in advance.

Auditing (Non-Credit Enrollment) Statement:

All students participating in this course must be enrolled as credit-seeking students. Given the nature of the
course, requests to enroll in the course as a non-credit (audit) student will not be approved. Participation in
class activities by non-enrolled students is prohibited without advance, specific consent from the instructor.

Extra Credit Policy

There are no extra credit opportunities associated with this course. All assignments for course credit are
required as stated in this syllabus, and students should fully utilize all these assignments in order to
successfully complete the course. Students requesting individual extra credit opportunities will be referred
back to their copy of the syllabus and this course policy.

Curating in the Expanded Field, SAIC Fall 2024, Faculty Asha Iman Veal, syllabus p. 3
 Curating in the Expanded Field
Fall 2024 Course Calendar

“Exhibitions, they aren’t a means to an end. They are just the beginning of a conversation. An
emerging curator should think about developing your own way of seeing, and how [the exhibition]
can become part of a network of conversations.”
– Zoey Ryan, School of the Art Institute of Chicago, September 2016

WEEK 1, 9/3:

In class, we will walk together to visit the Museum of Contemporary Photography

(600 S Michigan Avenue) for a first look at the new exhibition Dawit L. Petros: Prospetto a Mare.

We will lightly review the course syllabus and sign-up for the future weeks’ topic research and reading
leadership.

WEEK 2, 9/10:

Early Project Brainstorm Meetings with the Course Instructor (in pairs or small groups)

In advance of today’s class please read the following bio, exhibition essays, and watch one video:
“Asha Iman Veal”
https://curatorsintl.org/about/collaborators/22433-asha-iman-veal

“LOVE: Still Not the Lesser”

https://www.mocp.org/resources/love-still-not-the-lesser-exhibition-essay/

“Beautiful Diaspora / You Are Not the Lesser Part”

https://www.mocp.org/wp-content/uploads/2022/07/Beautiful-Diaspora-Essay-v4.pdf

“FOCAL POINT Live: Artists Xyza Cruz Bacani and Jason Reblando”
https://www.ashaimanveal.com/raisin-vol1-chicago.html
https://kimbeckerphoto.pixieset.com/raisin/
www.youtube.com/watch?v=YPZ73SQsN0U
https://youtu.be/OQIRojBGFEw?si=ck6J4wVN7d0ZXuZQ&t=3288

In class,

Students will work in independent pairs for the “36 Questions for Artistic Love” exercise, (derived from the
National Public Housing Museum’s original “36 Questions to Civic Love” https://www.nphm.org/civiclove).
https://docs.google.com/document/d/13hKZd67ODMUizyUguN2K98ZKR5Eiz5pi/edit?usp=sharing&ouid=1
00571833480401865207&rtpof=true&sd=true

Foundational review: Checklists, Budgets, Acquisitions, Public Programs & Engagement, Project
Development

Students will meet with the course instructor, in pairs or small groups.
Students will sign-up for next week’s topic leadership and reading leadership.

The group will watch excerpts from:

When the Levees Broke : a Requiem in Four Acts; Lee, Spike, 2006. HBO Documentary Films.; Forty
Acres & a Mule Filmworks.; Home Box Office (Firm); HBO Video (Firm)
https://i-share-sai.primo.exlibrisgroup.com/permalink/01CARLI_SAI/1749spm/alma999860611005886

Waiting for Godot, 1961, 104 minutes. Written by Samuel Beckett. Directed by Alan Schneider for "Play of
the Week". Starring Zero Mostel and Burgess Meredith. Restored by UCLA Film & Television Archive.
https://i-share-sai.primo.exlibrisgroup.com/permalink/01CARLI_SAI/1749spm/alma9937318750605886

WEEK 3, 9/17:

Waiting for Godot in New Orleans – Paul Chan and Creative Time
history, race, class, performance
Curating in the Expanded Field, SAIC Fall 2024, Faculty Asha Iman Veal, syllabus p. 4
required readings

– Chan, Paul. “Waiting for Godot in New Orleans: An Artist Statement” Paul Chan: Waiting for Godot in New
Orleans: A Field Guide. Paul Chan, ed. New York: Creative Time Books. 2010. 25-28 Pasternak, Anne.
“Foreword.” ix-xi
Salaam, Kalamu Ya. “What to do with the Negroes?” 13-16, 20-21

– Dickson, Andrew. “’Your Godot Was Our Godot’: Beckett’s global journeys”. British Library. September 7,
2017.
Smith, David. “In Godot We Trust.” The Guardian. March 7, 2009.
Sontag, Susan. “Waiting for Godot in Sarajevo.” Performing Arts Journal. May 1994. 87-106.

– Husemann, Pirkko. “A Curator’s Reality Check. Conditions of Curating Performing Arts.” Cultures of the
Curatorial. Beatrix von Bismarck, Jörn Schafaff, Thomas Weski, eds. New York: Sternberg Press. 2012.
269-286.
&
Lind, Maria, ed. “Performing the Curatorial, An Introduction.” Performing the Curatorial. Berlin: Sternberg
Press, 2012. 9-20.

– “Antiphony: Joan Jonas x Jason Moran.” Grammar - A Documentary Film about Jazz through Jason
Moran. Dirs. Radiclani Clytus, Gregg Conde, Anthony Gannon, and Joseph Paul Alvarado. 2013.
https://www.artforum.com/video/antiphony-joan-jonas-x-jason-moran-2013-48634
&
Simon, Joan. ed. “In the Studio: Joan Jonas and Jason Moran.” Art in America. April 28, 2015.
https://www.artnews.com/art-in-america/features/in-the-studio-joan-jonas-and-jason-moran-63076/
&
21.10.2014 Reanimation | Performance by Joan Jonas and Jason Moran for Pirelli Hangar Bicocca
https://www.youtube.com/watch?v=aJ7uME3LbGc

In class, topic presentations and text discussions.

In class, the group will complete watching:

Paul Chan, MacArthur Foundation Video
https://www.macfound.org/fellows/class-of-2022/paul-chan#

Paul Chan, Creative Time Interview Video

https://www.youtube.com/watch?v=DBh6nuD8Cvk

In class, virtual guest visit from Jonathan May, Cultural Producer and Performance Curator UK
https://www.belfastphotofestival.com/jonathan-may-portfolio-review
https://creativeconomy.britishcouncil.org/projects/altcity-sao-paulo/

Asynchronous, please attend the Visiting Artist Lecture if you are able:
Carmen Neely: 6:00 - 7:30 p.m. at The Art Institute of Chicago, Fullerton Hall, 111 S. Michigan Ave.
https://libraryguides.saic.edu/VAP/neely

WEEK 4, 9/24:

Sense of the City, Montreal – Mirko Zardini

The Universe and Art, Tokyo – Fumio Nanjo and Reiko Tsubaki
speculative, earth, space

required readings

– Zardini, Mirko. “Toward a Sensorial Urbanism.” Sense of the City: An Alternate Approach to Urbanism.
Mirko Zardini, ed. Baden, Switzerland: Lars Müller Publishers. 2005. 17-25.
&
Zardini, Mirko. "A Project for Two Buildings." ICAM 04. Monika Platzer, ed. Architekturzentrum Wien. 2012.
30-35. “Sense of the City” exhibition archive https://www.cca.qc.ca/en/events/2807/sense-of-the-city

– Reviews on The Universe and Art:

http://db-artmag.com/en/94/news/spectacular-journey-into-space-mori-art-museum-presents-the-univ/
https://hyperallergic.com/338564/how-artists-and-scientists-have-contended-with-the-cosmos-across-the-
centuries/

– Martinez, Chus. “Clandestine Happiness. What do We Mean by Artistic Research?” INDEX Issue 0,
Autumn Museu d’Art Contemporani de Barcelona. 2010. 8-11.

– Cohen, Jean-Louis. “Exhibitionism and It's Limits.” ICAM. Monika Platzer, ed. Rotterdam: Architecture
Institute. 2009. 64-69.

– Storr, Robert. “Show and Tell.” What Makes a Great Exhibition? Paula Marincola, ed. Philadelphia:
Philadelphia Center for Arts. 2006.

Curating in the Expanded Field, SAIC Fall 2024, Faculty Asha Iman Veal, syllabus p. 5
– Kwon, Miwon. “Sitings of Public Art: Integration vs Intervention.” Alternative Art New York 1965- 1985.
Julie Ault, ed. Minneapolis: University of Minnesota Press. 2002.

– emerge: Journal of Arts Administration & Policy

https://saicemerge2017.wordpress.com/2017/02/21/mpho-matsipa-architect-and-educator-johannesburg/

– Wilson, Fo. “Dark Matter” exhibition. Hyde Park Art Center 2019. http://bit.ly/2lt3Ztu

In class, topic presentations and text discussions.

In-class visit to the Joan Flasch Artist Book Library, lights-out listening session to the Dark Matter :
Celestial Objects as Messengers of Love in these Troubled Times Summer 2019 performance.
https://www.worldcat.org/title/dark-matter-celestial-objects-as-messengers-of-love-in-these-troubled-
times/oclc/1237279324&referer=brief_results

[-or- “Isn’t It Beautiful...Collapsing” Summer 2022 performance by Damon Locks, for Experimental Sound
Studio and MoCP https://www.youtube.com/watch?v=axgLcub3ujo]

In-class, students will work in pairs and small groups to continue to brainstorm their individual exhibition
concept.

WEEK 5, 10/1:

The Curatorial Paradigm – Dorothea Von Hantelmann

practice, theory, ways of seeing

required readings

– Wilson, Mick. “Retrospective: ‘Places with a Past’ – New site-specific art in Charleston, Spoleto Festival
USA, 1991.” Art & the public sphere. Vol. 1 (1). January 2011. 55-64.

– Kipnis, Jeff. “Who’s Afraid of Gift-Wrapped Kazoos?” What Makes a Great Exhibition. Paula Marincola, ed.
Philadelphia: Philadelphia Center for Arts. 2007. 94-106.

– “Curating/Curatorial: A Conversation between Irit Rogoff and Beatrice von Bismarck.” Cultures of the
Curatorial. Beatrix von Bismarck, Jörn Schafaff, Thomas Weski, eds. New York: Sternberg Press. 2012. 21-
37.

– Von Hantelmann, Dorothea. “The Curatorial Paradigm.” The Exhibitionist No. 4, La Critique. 2011. 6-12.

– Griffin, Tim. “Global tendencies: globalism and large-scale exhibition.” ArtForum. November 2003.

– Kinsman, Houghton. “In Profile: Bisi Silva, The independent curator on 25 years in the arts.” Frieze.com.
31 May 2007.

– Megha Ralapati / for the Emerge journal

https://youtu.be/ytrzoJNXhyY
https://www.artandeducation.net/announcements/169903/jackman-goldwasser-residency-2018

– Rodney, Steph. African American and Latin X representation in U.S. Art History Departments.
https://hyperallergic.com/256013/why-are-there-so-few-black-full-time-art-historians-in-the-us/
https://hyperallergic.com/265464/a-conversation-on-latino-representation-in-us-art-history-departments/

In class, special guest artist visit Luciana Demichelis

https://www.1854.photography/2023/06/luciana-demichelis-ones-to-watch/

In class, topic presentations and text discussions.

In-class, students will work in pairs and small groups to continue to brainstorm their individual exhibition
concept.

WEEK 6, 10/8:

Group Field Trip to Graham Foundation

Graham Foundation – Madlener House at 4 West Burton Place Chicago, Illinois 60610. We will meet in the
lobby at 3:30pm. Class is dismissed at 5pm, at the close of the museum.

About: Founded in 1956, the Graham Foundation for Advanced Studies in the Fine Arts fosters the
development and exchange of diverse and challenging ideas about architecture and its role in the arts,

Curating in the Expanded Field, SAIC Fall 2024, Faculty Asha Iman Veal, syllabus p. 6
culture, and society. The Graham realizes this vision through making project-based grants to individuals and
organizations and producing exhibitions, events, and publications.

http://www.grahamfoundation.org/public_exhibitions/6656-frederick-kiesler-vision-machines
http://www.grahamfoundation.org/mission

WEEK 7, 10/15:
Havana Biennial – Cuba, Centro de Arte Contemporáneo Wifredo Lam participatory processional
performances, global and Gwangju – Claire Tancons
power, identity, nation

required readings

– Niemojewski, Rafal. “Venice or Havana: A Polemic on the Genesis of the Contemporary Biennial.” The
Biennial Reader. Bergen Kunsthall: Hatje Cantz. 2010. 89-103.

– Vogel, Sabine B. "Introduction and The Creation of the Biennale." Biennials - Art on a Global Scale.
Wein: Springer Verlag. 2010. 6-21.

– Tancons, Claire. “Carnival and The Artistic Contract: Spring in Gwangju.” Nka: Journal of Contemporary
African Art. Number 25, Winter 2009. Duke University Press. 106-119.

– O'Neill, Paul. "The Emergence of Curatorial Discourse from the Late 1960s to the Present." The Culture
of Curating and the Curating of Culture(s). Cambridge: MIT, 2012. 9-49.

– emerge: Journal of Arts Administration and Policy

https://saicemerge2017.wordpress.com/2017/02/13/charles-esche-director-of-van-abbemuseum-
netherlands/

– MoMA special presentation “Material Worlds: Water Futures” 2022 (watch only Dele Adeyemo and Feifei
Zhou)

https://www.moma.org/calendar/events/8346
https://www.youtube.com/watch?v=Jpmrbt8fSyE

– Behind the Lens: Sunil Gupta, Spring 2022

https://vimeo.com/703324341

In class, topic presentations and text discussions.

Watch excerpt of Adeyemo film work.

In-class, students will work in pairs and small groups to continue to brainstorm their individual exhibition
concept.

Asynchronous, please attend the Visiting Artist Lecture:

Dred Scott: 6:00 - 7:30 p.m. at The Art Institute of Chicago, Fullerton Hall, 111 S. Michigan Ave.
https://www.saic.edu/events/dread-scott-distinguished-alumni-lecture

WEEK 8, 10/22:
The Short Century: Independence and Liberation Movements in Africa 1945-1994 – Okwui Enwezor
Documenta 11, Kassel – Okwui Enwezor
distance, time, revision

required readings

– Enwezor, Okwui. “Introduction.” The Short Century: Independence and Liberation Movements in Africa
1945-1994. Okwui Enwezor, ed. London: Prestel. 2001.

– Thea, Carolee. "Okwui Enwezor: Interview 2003." On Curating: Interviews with Ten International
Curating in the Expanded Field, SAIC Fall 2021, Faculty Asha Iman Veal, syllabus p. 9
Curators. By Carolee Thea and Thomas Micchelli. New York, NY: D.A.P./Distributed Art, 2009. 48- 57.

– Mercer, Kobena. “Documental 11.” Frieze. September 9, 2002. https://www.frieze.com/article/documenta-

11-2.

– Conrad Murray, Derek. “Documenta 11. Okwui Enwezor in conversation with Derek Conrad Murray.” Nka:
Journal of Contemporary African Art, Number 18. Spring/Summer 2003. Duke University Press. 40-47.

– Tinari, Phillip. “2008 Gwangju Biennale Singapore Biennale 2008 3rd Yokohama Triennale.” Artforum
International. Jan 2009. 199-201.

–McKee, Jesse. “The 7th Gwangju Biennale.” C Magazine. Spring 2009.

Curating in the Expanded Field, SAIC Fall 2024, Faculty Asha Iman Veal, syllabus p. 7
– Piotrowski, Piotr. “An Art Historian between the University and Museum. Towards the Idea of the Critical
Museum.” INDEX Issue 0, Autumn 2010. Museu d’Art Contemporani de Barcelona.12-15.

In class, topic presentations and text discussions.

Students will also work together in pairs to continue refining curatorial project and/or exhibition concepts.

In-class, stream The First World Festival of Negro Arts 1968 film by American director and artist William
Greaves. This film is the official feature documentary of the major 1966 art festival in Senegal.

WEEK 9, 10/29:

Midterm Meetings & Project Brainstorms

In class: First Group, workshop of students’ exhibition concepts.

WEEK 10, 11/5:

Discourse and Project Planning +

Tensta Konsthall, Sweden – Maria Lind
Bisi Silva, Lagos – Center for Contemporary Art Lagos and Asiko Art School Koyo Kouoh, Senegal –
RAW Material Company and RAW Academy
leadership, center, female

required readings

– “Doris Salcedo: Disremembered” MCA Chicago 2015 https://bit.ly/3boHU50

– Kouoh, Koyo. “Filling the Voids.” Condition Report: Symposium on Building Art Institutions in Africa.
Kouoh, Koyo, ed. Ostfildern: Hatje Cantz. 2013. 15-18.
1:54 Contemporary African Art Fair. http://1-54.com/
http://www.artnews.com/2019/05/02/1-54-contemporary-african-art-fair-report/

– Njami, Simon. “Imagined Communities.” Condition Report: Symposium on Building Art Institutions in
Africa. Kouoh, Koyo, ed. Ostfildern: Hatje Cantz. 2013. 21-24.

– Piotrowski, Piotr. “New Museums in New Europe.” Art and Democracy in Post-Communist Europe.
Islington, U.K.: Reaktion Books, 2012. 202-221

– Ginwala, Natasha. "Lala Rukh, Introduction." South Magazine Issue #8, documenta 14 #3. 2017.

– Durn, Maximilano. “Kabelo Malatsie to Become First Non-European to Helm Switzerland’s Kunsthalle
Bern,” ArtNews June 25, 2021 https://www.artnews.com/art-news/news/kabelo-malatsie-director-kunsthalle-
bern-1234597034/

In class, topic presentations and text discussions.

Second Group, workshop of students’ exhibition concepts.

WEEK 11, 11/12:

Group Field Trip to see

“Dawit L. Petros: Prospetto a Mare” tea ceremony special program at the Museum of Contemporary
Photography Chicago (600 S Michigan Avenue). We will meet in the museum lobby at 4:00pm

WEEK 12, 11/19:

Discourse and Project Planning +

History and Theory

advance readings:
—Grasskamp, Walter. "The White Wall: On the Prehistory of the 'White Cube.'" Curating Critique. Marianne
Eigenheer, ed. Frankfurt: Revolver. Archiv Für Aktuelle Kunst. 2007. 316-39.

In class: Third Group, workshop of students’ exhibition concepts.

Curating in the Expanded Field, SAIC Fall 2024, Faculty Asha Iman Veal, syllabus p. 8
WEEK 13, 11/26:

Thanksgiving Week, Special Lecture via Zoom

3:30pm Victoria Martinez
https://artsandpubliclife.org/victoria-martinez
https://www.youtube.com/watch?v=o3SUvwxPJY8
https://www.victoria-martinez.com

Office hours with instructor, by appointment.

12/3:

NO CLASS – SAIC CRITIQUE WEEK

WEEK 14, 12/10:

FINAL PRESENTATIONS – 3 MINUTES EACH

PAPER WORKSHOPS – BRING 4 PRINTED COPIES TO CLASS

Curating in the Expanded Field, SAIC Fall 2024, Faculty Asha Iman Veal, syllabus p. 9