What is the role of a curator? What are the decisions, strategies and approaches that inform and shape the work of curators today? How do they negotiate the wide range of social, political and economic factors in which they operate?
Across eleven weeks, learn about the ways in which curators at Tate develop, manage and engage with art and a collection, exhibitions and events programmes. Led by independent curator Lynton Talbot, this course also considers how a curator’s work responds to diverse institutional and non-institutional influences, as well as current global social and economic contexts.
Sessions focus on current exhibitions including Modigliani, working with a museum collection, planning for the future and expanding audiences. We also explore the relationships developed and negotiated between curators, artists and other partners.
Throughout the course Tate staff present on their current work in Q&A sessions with participants, while readings and visits to galleries will highlight key issues and themes of contemporary curating practices.
No prior knowledge of art history or museum studies is necessary.
Lynton Talbot is an independent curator, lecturer and writer who has regularly taught at Goldsmiths, London College of Communication, School of the Damned, and The Architectural Association. He is currently acting course Leader in Curating and Collections at Chelsea College of Arts, University of the Arts London. He has contributed to Art Monthly and Art Review among other publications and has written short courses on the art market, curating and art handling. As a curator he works collaboratively with Hana Noorali and together they have staged over thirty exhibitions in London and internationally. Forming the curatorial collective RUN alongside Elena Crippa, they have programmed exhibitions at The Whitechapel Gallery, Chelsea Space and Auto Italia. He is currently conducting a PhD looking at the role of the curator as a collaborative figure re-framed as cultural producer.
Past participant comments
It was great to learn about theories behind curating, as a lot of it is very practical – great to hear from curators but also from peers.
By looking at each of the departments we were able to see how they work together to make museums run smoothly. Curating is involved with all these aspects.
I have learnt so much in such an animated and engaging environment that I can now excitedly say that I would like to pursue curation further as a career!
Organised in collaboration with the Department of Culture, Media and Creative Industries, King’s College London