This course explores the history and theory of art exhibitions as spaces of display and formal experimentation, critical public spheres, and narrative structures where history, ideology and power are enacted and negotiated. The course will cover the chronological span from 17th century cabinets of curiosity to contemporary displays and will consider a wide range of exhibitions: from museum collection presentations to temporary group and solo exhibitions, historical and thematic, organized by curators and by artists themselves, as well as major international shows, such as expos and biennials. We will examine exhibitions’ role in the emergence of mass media, the market, and state propaganda, as well as artists’ resistance to the instrumentalization and commercialization of their work. We will study the work of key 20th century artists, who engaged directly with exhibition practices, including Marcel Duchamp, Kazimir Malevich, El Lissitzky, Hans Haacke, Marcel Broodhaers, and Barbara Kruger. We will read important writings by Carol Duncan, Brian O’Doherty, Mary Ann Stanieszewski, Lucy Lippard and Okwui Enwezor. Coursework includes class presentations of assigned readings, written reports on current exhibitions, and a research paper on a historical exhibition of your choice. Class meetings will be supplemented with visits to exhibitions and guest talks by curators and artists.

Exhibitions as History: The Contemporary - This course explores the history and theory of art exhibitions as physical or networked spaces of display, critical public spheres, historical processes of formal experimentation, power and ideology. Exhibitions under examination will include museological displays of art and cultural collections, temporary group and solo presentations, historical and thematic exhibitions, artist-organized shows, curatorial projects privileging digital and internet art, and international exhibitions such as expos and biennials. We will consider forms of exhibition-making with regards to their manifold institution settings and contexts—across museums, salons, private galleries, public spaces, web galleries and online programming. We will also examine exhibitions as counterparts to transformations in modern and contemporary art practice, changing forms of technology, work and labor, state power and private investment, cultural internationalism and economic globalization. Coursework includes research papers on exhibition history, discussions focused on the presentation and process of exhibitions and curatorial projects, meetings and conversations with curators, artists, historians, archivists and/or designers. We will study work and writings by Susan Cahan, Carol Duncan, Thelma Golden, Andrea Fraser, Maria Lind, Lucy Lippard, Rebecca Gordon-Nesbitt, David Teh, Patrick Flores, Kynaston McShine, Gabi Ngcobo, Helen Molesworth, cheyanne turions, Seth Siegelaub, Mary Ann Stanieszewski, Fred Wilson, among others.