TORIAL PRACTICE CURA

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1 MA URATORIAL PRACTICE

2 My MA at UCA Canterbury gave me the opportunity to evolve as a researcher and practitioner in a highly supportive academic community, whilst providing a number of opportunities for live engagement in a contemporary art context Liana Psarologaki

3 INTRO INTRODUCTION Over the last 20 years the definition and role of the curator within contemporary art practice has expanded beyond any straightforward notion of exhibiting or presenting artwork. Encompassing a much broader range of activities, the idea of a curatorial practice acknowledges this expanded context to more closely engage with concerns of theorizing, writing, educating, producing and managing art. Developed and delivered in partnership with Turner Contemporary, our exciting new MA in Curatorial Practice is designed with a shared focus on experimental practice and vocational engagement, the course provides opportunities for direct professional and public engagement with local arts organizations, biennales and public arts projects, providing a unique context for testing curatorial strategies through both studio research and live contexts. An opportunity for students to vocationalise their education, or professionals to theorize their practice in an academic context, the course is open to curators, artists, historians, designers, architects or humanities graduates. Dr Terry Perk PG Course Leader School of Fine Art 3

4 HE COURSEMA Curatorial Practice The Course Exploring historical and recent developments within the field of curation and art making our MA Curatorial Practice programme engages students in the tri-partite relationship between exploratory practice, theory and the vocation of curating. Alongside the core development of a personal MA project, students will be introduced to issues of art s management, art s funding, art s policy, art s education and collection management, as well as basic principles of fundraising, marketing, accounting and networking. Exploring these concerns as they relate to commercial and public sector activities, such as museums, art fairs, biennials/triennials, art festivals, fringe platforms, public arts organizations and artist-run initiatives, the course has been developed to provide a means for exploring alternate strategies for engaging with ideas through various modes of curatorial activity. This is engendered through workshops, study visits, guest lectures, case studies, creative industry partnerships and miniprojects, in which students are invited to engage with collections and audiences through theoretical and practical processes of interpretation, framing and presentation. 5

5 TRUC TURE DURATION OF STUDY Full-time mode (45 weeks, 1 academic year) Part-time mode (90 weeks, 2 academic years) STAGE 1 The first stage of the course emphasises experimentation, reflection and an open questioning of your practice and research aims. Through practical project work and theoretical reflection you develop a project proposal, considering issues in curatorial methodology and the relationships between theory and practice. STAGE 2 In the second stage of the course you continue to develop and investigate your proposed research project, testing ideas and establishing coherent models for critically engaging with your practice. Throughout this stage you are supported through short-term project placements, interdisciplinary workshops, tutorials, forums and a range of study visits. STAGE 3 In the final stage you realise your project through independent and/or collaborative study, establishing an appropriate form for the dissemination and/or publication of your work. 7

6 ROFESS EVELOP PROFESSIONAL DEVELOPMENT Partnering delivery with Turner Contemporary in Margate, vocational practice is embedded in the course programme and student experience. Working locally throughout Kent and the southeast, collaborations also include work with the Folkestone Triennial and Fringe, Strange Cargo, Stour Valley Arts, Dover Arts Development, Limbo, B&B Project Space and CRATE amongst others. The distinctive geographical context of the course in Kent and the South East offers what we believe is a unique opportunity to develop specific curatorial research in the context of cultural regeneration and art in the public realm, whilst our close proximity to London and Europe allows students to engage with curatorial concerns in relation to private and transnational frameworks. These opportunities to work in direct vocational relationship to industry offers a distinctive professional opportunity for study at this level, with potential career destinations including public arts curation and administration, exhibition curation, independent curation, gallery education, gallery management and administration, publishing & journalism, as well as art criticism and writing. 9

7 MA CURATORIAL PRACTICE STAFF IN THE SCHOOL OF FINE ART AT UCA CANTERBURY TAFF Edward Chell Moyra Derby Professor Nicky Hamlyn Derek Hampson Lucy Harrison Peter Hofer Anthony Heywood Conor Kelly Professor Andrew Kötting Adrian Lovis Mike Marshall Bob Mathews Katie McKee Zadoc Nava Anna Orchard Dr. Silke Panse Dr. Terry Perk Grant Petry Dr. Dominic Rahtz Professor Judith Rugg Birgit Suhrmeyer Jessica Voorsanger 11

8 MA URATORIAL PRACTICE Cover MA CURATORIAL PRACTICE UCA Canterbury New Dover Road Kent CT1 3AN T: +44 (0) F: +44 (0) W: ucreative.ac.uk PUBLICATION Production Terry Perk Graphic Design Mané Branco Thanks to Richard Bryant at Images Du Mingda Richard Bryant Russell Moreton Richard Bryant David Mortlock MA CURATORIAL PRACTICE ucreative.ac.uk/ma-curatorial-practice 13

9 UCA Canterbury New Dover Road Canterbury, Kent, CT1 3AN +44 (0)