The Institute for Curatorial Practice is a 5-week intensive summer program at Hampshire College focused on the practice of curation: material, digital, and imaginary.
At the Institute for Curatorial Practice students investigate and implement contemporary modes of curation, combining new media technologies and experimental methods with the direct study of collections in distinguished museums and archives. Our emphasis is on the acquisition of critical, theoretical, historical, and digital skills, while developing imaginative and conceptual strategies for the exhibition of objects, images, sounds, structures, films, sites, texts, and artifacts.
Our program begins with an introduction to the history of museums, collections, and curating alongside an examination of diverse objects, display techniques, and museum careers through site visits to world-renowned museums in the Five College consortium (Amherst, Hampshire, Mount Holyoke, and Smith Colleges and the University of Massachusetts, Amherst). We then examine new directions in curatorial studies, focusing on current explorations in contemporary practice, issues of exhibiting across cultures, and new media platforms.
Following these introductory weeks, students work in teams to develop exhibitions online and for Hampshire’s digital projection gallery. Using one object from the Five College Museum collections as a catalyst, students develop an exhibition inspired by that object, developing a thematic concept, selecting additional works and texts, articulating a curatorial argument, and acquiring permissions. Student teams will focus on curatorial writing, research, marketing, design, and installation.
Professor Koehler has done visual and archival research in Berlin, Weimar, Dessau, Paris, Bern, Munich, London, New York, Chicago, and Cambridge, Massachusetts, and has published extensively on twentieth century art and architecture, with a concentration on the role of exhibitions in the history of art. Her work questions the relationships of art and exile, translation and perception, and the interactions of architecture with other forms of cultural expression, as in her edited volume The Built Surface: Architecture and the Pictorial Arts from Romanticism to the 21st Century (London: Ashgate, 2001). In 2012, Professor Koehler took part in a series of workshops and symposia on “Revival: Utopia, Identity, Memory” at the Courtauld Institute for Art, London; and in 2011 with Eve Blau (Harvard University) she chaired a session on “Architectural Exhibitions in/as Critique” at the College Art Association Conference in New York. She has most recently published catalogue essays for the exhibitions The Small Utopia: Ars Multiplicata (Foundazione Prada, Venice, 2012) and The Mad Square: Modernity in German Art 1910-1938 (Art Gallery of New South Wales, 2011) and was a contributing editor to the Mead Collection Handbook (Mead Art Museum, Amherst College, 2011). Her contribution to the conference “Bauhaus Palimpsest: The Object of Discourse” at the Harvard University Art Museums was published in Bauhaus Constructs (Routledge, 2009). Professor Koehler’s museum work began as curatorial assistant at the University Museum of Contemporary Art at the University of Massachusetts, where she contributed to shows on Barnett Newman, Martin Puryear, Chris Burden and other American artists. More recently, Professor Koehler was faculty curator and sole author of the catalogue for Bauhaus Modern at the Smith College Museum of Art (2008), an important exhibition that contributed new thinking on the complexity and diversity of Bauhaus art and history, while challenging assumptions about the mass production of modernist objects and images. She is currently at work on two books, a survey of the Bauhaus for Phaidon Press, and an intellectual history of the German architect Walter Gropius, including his exhibition designs in New York, Berlin, Weimar, London and Paris.
He is the author of Nietzsche: Naturalism and Interpretation (University of California Press, 1999) and co-editor of Audio Culture: Readings in Modern Music (Continuum, 2004). Cox is editor-at-large for Cabinet, writes regularly for Artforum and The Wire, and has published philosophical essays in the Journal of the History of Philosophy, the Journal of Visual Culture, Organised Sound, International Studies in Philosophy, The Review of Metaphysics, and elsewhere. Cox has curated exhibitions at the Contemporary Arts Museum Houston, The Kitchen, New Langton Arts, and G Fine Art Gallery. Cox has written catalog essays for exhibitions at the Whitney Museum of American Art, the Museum of Modern Art, Mass MoCA, the South London Gallery, Berlin’s Akademie der Künste, the Museum of Contemporary Photography, the Oslo Kunstforening, and other venues. He is currently at work on two books: a monograph on sound art, experimental music, and metaphysics; and an edited volume on aesthetics and the new realist and materialist philosophies.
Anna Schrade curated or co-curated the exhibitions Crossing Munich: Orte, Bilder und Debatten der Migration (Kulturreferat München 2009), Spuren: Neue Arbeiten von Christophe Ndabananiye (Iwalewa-Haus 2010), AfroSat I (Iwalewa-Haus 2010), Mine: A Selection of Films by South African Artists (Iwalewa-Haus 2010) and AfroSat II (Iwalewa Haus 2012).
Past Lecturers and Staff
Elizabeth E. Barker, Stanford Calderwood Director of the Boston Athenæum, former Director of the Mead Art Museum
Gordon Hall, artist, founder of the Center for Experimental Lectures
Eric Peterson, web designer, writer, and researcher of architecture and urban history
Laurel Ptak, Executive Director of Triangle Arts Association
Caroline J. White, Kenneth R. Feinberg Archivist at the University of Massachusetts Amherst
Prior to his arrival at the Mead, Bradley worked at the Yale University Art Gallery as both the Japan Foundation Curatorial Assistant and the Rose Herrick Jackson Curatorial Assistant, in the departments of Asian Art and American Decorative Arts, respectively. He was also appointed Yale University’s Head Teaching Fellow in the History of Art Department.
His research interests include Japanese art from the 18th to 20th centuries, especially the Meiji Period and Japanese Imperialism, Western collections of Japanese art and artifacts, the influence of East Asian art and thought on Western art practice, and the importation of Western-style oil painting and sculpture in Japan. While at the Mead, he has curated several exhibitions, including On The Glorious Stage of Death: The Attack on Port Arthur in Japanese Prints, An Unblemished Mirror of Truth: Kyohei Inukai, Robert Brackman, and Portraits of American Tragedy, Nature, Pleasure, Myth: Animals in the Art of Japan, and Pain’s Pyrotechnic Spectacle: The Sino-Japanese War in Print, which was supported by the Institute for Curatorial Practice.
At present, he is working on a translation of the complete writings of Aoki Shigeru, a Meiji-era Romanticist painter, and is in the early stages of a historical survey of the relationship between Italy and Japan, from the 16th to the 20th centuries. He is also organizing Unimaginable by One Mind Alone, an upcoming exhibition in which contemporary artists will “complete” the fractured and orphaned panels of Japanese print polyptychs.
Composing and improvising with intentionally-unstable electroacoustic systems of his own devising, Cloaca regularly dances with failure under the Bromp Treb moniker. Since 2002, he has been a member of art rock quintet Fat Worm of Error, producing and releasing recordings on various independent labels and touring North America, Europe, and the UK.
His moving image work draws upon diary, travelogue, and poetic forms that are aggressively-manipulated, disorienting observations and distortions of truth in memory. His work has been screened in microcinemas, schools and independent art centers in North America and Europe.
Since the late 90’s, Cloaca has been programming experimental art events and building enthusiastic audiences. Projects have included performance and screening series such as the Bright Rectangle (1999 - 2003), the Montague Phantom Brain Exchange (2008 - 2011), Phantom Erratic (2011 - ongoing) and The Peskeomskut Noisecapades (2011 - ongoing), an outdoor winter landscape sound/performance festival held on ice.
In 1999, he received his B.A. from Hampshire College for his studio work in film/video and poetry. He lives in Western Massachusetts, North America.
He formed the long-running experimental trio Son of Earth with Aaron Rosenblum and John Shaw in 2000, played bass in The Believers, and performs with Idea Fire Company and Orchid Spangiafora. He performs regularly in the United States and in Europe. His music has been released by Open Mouth, Ultra Eczema, Ecstatic Peace!, and Kye, among others.
Krefting earned his B.A. from Hampshire College, where he studied experimental music and literature. He organized countless musical events at Hampshire and at the Flywheel Arts Collective, booking shows for Joe McPhee, Chris Corsano, Sonic Youth, Arthur Doyle, Christina Carter, Michael Hurley, Six Organs of Admittance, Double Leopards, and many more.
The ICP will run from June 8 to July 10, 2015. Applications are open now.
The Institute for Curatorial Practice is open to undergraduate, graduate, and post-B.A. students from any concentration, major, or area of interest. Our program is fiercely interdisciplinary and will be of interest to students of art and architectural history, cultural studies, public history, philosophy, and literature, as well as the history of science and technology. Some understanding of advanced research methods and analytical writing skills is a plus.
Applications are accepted on a rolling basis. Only completed applications are reviewed. In order to secure your place in the program, a $300 nonrefundable tuition deposit will be due two weeks after date of acceptance.
April 3 – Priority Deadline for all applications (the last date by which we can guarantee space in the program)
April 11 – Tuition Discount Deadline (students will receive 15% tuition discount if all payments are received)
May 1 – Application Deadline (all application materials)
May 15 – Payment Deadline (all deposits and payments must be submitted)
Museum professionals and curatorial practitioners are welcome to join the ICP program during the second week.