What does it mean to curate? Can art, thought, cognition, concepts, learning and lived experiences all be curated? Is it the curation of these facets, in ones experience as an artist teacher, that leads to knowledge generation? I ask myself these questions after a day exploring the concept of curation with Katie Boyce from the Alfred East Gallery and artist teachers from Northampton University.
From a theoretical perspective curating means to organise concepts and actively take on the role of curator (Macdonald, 2009), I contextualise this as an artist teacher to mean the designer of your own thoughts and outputs. The role of the curator involves researching, exhibition design, selection and a responsibility to communicate thought (Haas, 2003). The curator makes links between thoughts, concepts, art and cultural contexts (Acord, 2010). So as I see it, we are all curators and creators of our own cognition, as a creator we generate thought and knowledge . As a curator we design and own the paths we formulate. I offer insight into how I managed the role of curator and creator today.
Curating: I formulated thought today through the exposure to new and unexpected experiences whilst making connections to prior experiences I had encountered. Whilst listening to Katie and the artist teachers discussing how exhibitions were organised at the Alfred East Gallery in Kettering, I began to connect threads of thought from a number of recent experiences I have had myself as an artist teacher. These threads interconnected to help me build knowledge.
For example, Katie shared how the recent exhibition, hosted by the Alfred East Gallery, Collection Connections (see images below) used links between the range of artists on show to map out relationships, histories and personal stories. The links were portrayed visually using colours to generate maps, in a similar way to the London tube map, it was this notion of mapping that connected with me. I reflected that I had recently posted on this blog about cognitive links and theoretical webs and theorised through my doctoral writing that experiencing and reflecting on intercultural, interdisciplinary (Bresler, 2016) and multi-directional (Stanley, 2015) pathways was one strategy which led artist teachers to generate knowledge. The value of interdisciplinary and intercultural arts based research was also reinforced in a seminar by Professor Pam Burnard @Pam Burnard I attended at Homerton College Cambridge University on Tuesday 22nd November 2016. This experience again connected with the metaphorical web of cognitive curation I was generating in my own mind to connect, consolidate and curate my own learning to ultimately build knowledge. Through the process of connecting I had been actively curating cognition because I had been making links, as Acord (2010) stated between thoughts, concepts, art experiences and cultural contexts.
Creating: As creators artist teachers can take responsibility for generating thought and knowledge. In todays experience I did this in a number of ways, I was open to the art experience I encountered influencing my own and students learning, I took a risk to invite another to assist in the pedagogical structure of the course I had designed and was willing to reflect on the experience and apply reflexivity (Grushka, 2005) to this reflection, through this blog, to identify how the learning pathways I generated led to the creation of thought. As a result todays experience impacted my own development as an artist, teacher and researcher because I learnt more about the process of curation, questioned my own pedagogy and have identified how as a researcher I curate cognition within the lived artist teacher experience I encountered today. After all “The arts move us to see what is hidden or tacit to ourselves” (Burnard et al, 2014, p.101).
Acord, S. (2010). Beyond the head: The practical work of curating contemporary art. Journal of Qualitative Sociology, 33, 447-467.
Bresler, L. (2016). Interdisciplinary, intercultural travels: mapping a spectrum of research(er) experiences. In Burnard, P. Mackinlay, E. and Powell, K. (eds) The Routledge International Handbook of Intercultural Arts Research. Chapter 29. Abingdon: Routledge.
Burnard, P. Holliday, C. Jasilek, S. Nikolova, A. (2014). Artists and higher education partnerships: A living enquiry. Education Journal, 4.3, 98-105.
Grushka, K. (2005). Artists as reflective self‐learners and cultural communicators: an exploration of the qualitative aesthetic dimension of knowing self through reflective practice in art‐making. Reflective Practice: International and Multidisciplinary Perspectives, 6.3, 353-366. doi: 10.1080/14623940500220111
Haas, J. (2003). The changing role of the curator. Anthropology, New Series, No. 36, Curators, Collections, and Contexts: Anthropology at the Field Museum, 1893-2002, 237-242. Retrieved from: http://www.jstor.org/stable/29782683?seq=1&sid=21105716830753&uid=2134&uid=5910784&uid=2&uid=2129&uid=31173&uid=377736371&uid=3738032&uid=70&uid=3&uid=67#page_scan_tab_contents
MacDonald. C. (2009). Issues in curating contemporary art and performance. Contemporary Theatre Review, 19.2, 242-243. Retrieved from: http://www-tandfonline-com.ezproxy.northampton.ac.uk/doi/abs/10.1080/10486800902809651#.VLfiXFp4-RI
Stanley, P. (2015). Writing the PhD Journey(s): An Autoethnography of Zine-Writing, Angst, Embodiment, and Backpacker travels. Journal of Contemporary Ethnography. 44.2, 143-168.