Option 1Curate a Virtual Exhibition about the active role of visual culture on . If you could bring together any particular works from this class or that you feel are closely related to the themes we have worked on, what would you present to the public? Your exhibition should feature several rooms and you may include new media and performance in addition to other media such as painting, sculpture, photography or material culture.
Option 2: Inspired by the work of Fred Wilson (and others who practice institutional critique), curate a decolonial or decolonized exhibition on . Your group should brainstorm about a museum that needs rethinking in decolonial terms. Carefully research the decolonizing of museums (starting with the optional readings for week 12). You will need to carefully investigate the current exhibitions and collections of the museum you have chosen using online resources. Your decolonized exhibition should feature several rooms that may bring together traditional art objects (from the museums collection), new media and performance. You may choose to introduce new objects into your exhibition or recontextualize the objects that the museum already owns or a combination of these strategies.
Option 3 — Individual Paper: You may take one of the above themes as the starting point for a well-researched paper that uses at least 6 of readings (including optional readings) for weeks 10-12 (c. 2000 words). This should not repeat your last journal, but it may use ideas from it as a starting point. You will meet with me in an individual conference on May 2 or 4 to review your paper theme, a working outline and bibliography. Your preparation for this meeting will factor into your grade for the final project.
Week 10 – 12 reading
Week 10 –
Saskia Beranek, “Iconoclasm in the Netherlands in the Sixteenth Century,” in Smarthistory, June 30, 2020, accessed January 31, 2021, .
Sarah Beetham: outhern Heritage or Southern Art?
Kelley Helmstutler Di Dio “y”
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additional resources:
Monument Lab
Rebecca Solnit “The Monument Wars” Harper’s, Jan. 2017
Hugh Gusterson “” 6 Jul 2017
” by sculpture of Black Lives Matter protester Jen Reid”
In pictures: 3D return for destroyed by Taliban, BBC News, 10 March 2021.
(Khan Academy) (This defines the term and gives some historical background for it)
for reference: The Syllabus.
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Week 11
Bojan Maric “What Is Street Art (Links to an external site.) and How Can We Define It?” Widewalls, 2014
Mirzoeff Ch. 7 Changing the World 249-281 and Visual Activism 283-293
Sturken and Cartwright, Chapter 10 The Global Flow of Visual Culture 379-381, 402-406.
T. K. Smith “Toward a Monumental Black Body (Links to an external site.)” Art Papers, 2020
Ted talk by street artist JR (Links to an external site.) (counts toward class time)
Optional Resources:
Matthew Taylor “The Evolution of Extinction Rebellion, (Links to an external site.) The Guardian, August 2020.
Molly Sauter “The Visual Life of Occupy Wall Street (Links to an external site.)” MIT Comparative Media, 2012.
Barry McGee & Margaret Kilgallen in “Place (Links to an external site.)” Art in the Twenty-First Century (Links to an external site.) Se (Links to an external site.)ason 1 (Links to an external site.) September 21, 2001.
Ganz, Nicholas. Graffiti Women: Street Art from Five Continents. New York: Abrams, 2006.
Interview with street artist Swoon (Links to an external site.) in 2005.
Lisa Hix, “United States of Protest: A Citizen’s Guide to 250 Years of Resistance (Links to an external site.)” Collector’s Weekly 2018
Street Artist JR: “Use Art to Change the World.” TED talk. (Links to an external site.)
Nick Mirzoeff (Links to an external site.), “The Historical Failure and Revolutionary Potential of Taking a Knee” Hyperallergic, October 5, 2017 (Links to an external site.)
Art21, “Krzysztof Wodiczko, Monument,” in Smarthistory, 2021, https://smarthistory.org/krzysztof-wodiczko-monument/ (Links to an external site.).
Demos, “”Between Rebe downloadl Creativity downloadand Reification: For and Against Visual Activism” Journal of visual culture Vol 15(1): 85 102.
Jeremy Bendik-Keymer “Reconsidering the Aesthetics of Protest” (Links to an external site.) Hyperallergic 2017
Martha Rosler, “The Artistic Mode of Revolution” from ed. Peter Weibel, Global Activism: Art and Conflict in the 21st Century, 2014.
The Aesthetics of Global Protest (Links to an external site.)
Vivian Westwood
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Week 12-
Required reading for this week Sturken and Cartwright: “The Global Museum” 406-415.
Siddhartha Mitter “t” New York Times, March 11, 2021
Michelle Henning: 
, from Henning, Michelle. Museums, Media and Cultural Theory. Maidenhead, England: Open Univ. Press, 2011.
Senta German, ” in Smarthistory,
Elizabeth Marlowe, “Seizure of Looted Antiquities Illuminates ,” in Smarthistory, June 28, 2020, accessed January 31, 2021,
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You will also pick two of the folllowing to write about in your journals or to use for the final project:
and the
“” Puawai Cairns, Head of the taonga Mori collection, Museum of New Zealand Te Papa Tongarewa
Ana Lucia Araujo ” to White Supremacy” Public Books, 2.2.2021
Mignolo “of Modernity Fred Wilson’s Mining the Museum (1992)” in Harris, Jonathan. Globalization and Contemporary Art. Oxford: Wiley-Blackwell, 2011. Print. Chapter 4, pages 71-85.
AMY LONETREE” : Representing Native America in National and Tribal Museums” 2012 : University of North Carolina Press
Cody Delistraty, “The ” Frieze, 2018
Adam Hochschild, ” T The Atlantic, Jan/Feb 2020
LINTERNATIONALE ONLINE
Erin L. Thompson and Emiline Smith “Hyperallergic, March 11, 2021
Artists: Yinka Shonibari / Kehinde Wiley / Afro futurism / indigenous futurism/
Sabrina Alli, Ariella Asha Azoulay: It is not possible to without decolonizing the world. Guernica Magazine, March, 2020.
Allison Young, “Yinka Shonibare, The Swing (After Fragonard),” in Smarthistory, February 27, 2021, .
Carol Duncan The l in Preziosi, Donald. The Art of Art History: A Critical Anthology. Oxford: Oxford University Press, 1998.
Khan Academy:
