Tuesday, November 8, 2011
Monday, November 7, 2011
Sunday, November 6, 2011
Wednesday, November 2, 2011
Above: a view of Georgetown College from 1892. Below: the Cochenour Gallery, the Dr. Donald L. and Dorothy Jacobs Collection, and the Anne Wright Wilson Fine Arts Gallery, three exhibition spaces on the Georgetown College Campus.
Oral histories from Fall 2010 (the first class that undertook this project):
Oral History: Katie Webb Kneisley by Jacob
Oral History: Patrice Payton by Weezie
Oral History: Velma Adams by Celisa
Oral History: Michael Breidert by Bess
Oral History: Mike Sutherland by David
Introduction to the two-part class project from the Fall 2010: interviews with current students; and then oral histories with someone that the students wished to spend time with:
The focus of the final third of the Curatorial Studies class has centered on Janet Marstine's New Museum Theory and Practice book (image of cover, at right). We've read chapters devoted to agendas and architecture as well as virtual settings and visitor experiences. While students have read the chapters in the book and prepared written responses of them, we've additionally been able to discuss the content by engaging it directly: through projects that we've managed in class and those that are currently underway.
One of these projects, identified as project 4, consists of two parts: interviews and oral histories. For the first part (what we call Project 4a) students were asked to interview four current GC students, in person or via email or other means, about the Christian mission of the college. Each student in the class gave no introduction to the questions to be asked and, as a means of reportage, either wrote out answers exactly (as in a transcript) or summarized, paraphrased, and/or cited critical passages from the interview and discussion as part of a report of this project. There are several insightful comments made by the interviewees as well as keen observations made by the interviewers.
Students were given one week to complete the interviews. The responses from the students and the interviewers' take on them (as well as complexities of this assignment and the practical aspects) were discussed in class. And, for two weeks, in the midst of working on other projects, we discussed what we might do with the responses that we've collected. What should we do with this information? There was never a promise or, even, obligation to the respondents as to how the material might be consulted, reflected upon, or shared. (Incidentally, I should note that the interviewees were permitted to remain anonymous or to have their identity revealed.)
Last Friday, November 12, the class decided to offer an opportunity for others to help us decide what to do with the material. Do we report on it in some way, given that similar conversations are being had across campus among faculty and staff? Do we "curate" these interviews? And, if so, how and to what ends? Or, as with many projects, do we learn from the experience and build upon this skill for our next project, that is, the Oral History project (Project 4b)? If you have any comments or suggestions, please let me know and I will share these with the class.
One suggestion was to bring some of the content from this experience onto the pages of this blog and ask readers for advice; hence, this post. But, should we extend that suggestion further of and disclose details of Project 4a here? If so, why? Or, why not? If we consider this blog to be a "virtual reality" space, such as an online archive of our department, how does a post impact the possibility and authenticity of that material? Relatedly, in her discussion of web galleries as companions to or substitutes for actual galleries, Lianne McTavish has acknowledged, "virtual reality galleries represent museums that are not neutral spaces, fading into the background while viewers have immediate experiences of art works" (p. 231). Does a post about a conversation prevent further investigation of it? Or, does a post encourage and foster further engagement, on a personal level? To what extent could posting questions and responses on a blog, managed by an academic department, privilege the content in some way? McTavish further questions what happens "when everyday people begin to produce the content of virtual museums, appropriating the roles of curator and even museum director" (p. 227). A virtual museum, just as a traditional museum, is not neutral, neither is a blog or other Web 2.0 technology. Our GCVA blog welcomes visitor and reader input through the comment feature offered beneath most posts. Does that make a person an "author"? Yes, simply because they have contributed an idea in a written format. What kind of author are they? What else does the nomenclature or title of "author" imply? Consider that at any given time, readers can post a comment on Amazon.com about any title on view in their gallery of books to purchase (essentially "reviewing" a book). But is that what "reviewing a book" actually means? Historically, no. Now? Perhaps.
While there seems to be no clear articulation of what to do with the quantitative and qualitative data that Curatorial Studies students have gathered, there is much to be learned from this kind of work. It seems that museums, virtual realities, and Web 2.0 deny neutrality, as do the Project 4a interviews and the educational institutions where such work is done. Perhaps, in the case of Project 4a, a critique of our individual take on the college's mission and a sampling of opinions from our larger community as to the institution's mission may serve to bring new light to the current state of our institution and our past, present, and future framing of it.
PS: Be on the lookout for our final project, Project 4b Oral History, which will premier on Friday, December 3 at 1:00pm. All are invited to watch and listen to the students' oral history interviews.
------Students in the curatorial studies course (ART 302, offered every fall) developed an oral history project that focused on a person close to them. Below you will find an image of the person being interviewed and the student and the audio file, edited by the student. We hope that you enjoy this project as a curatorial, virtual, and compassionate endeavor.
Foremost in this project was the transition for the students from curating objects (such as sculpture on campus or objects from the GC archives, permanent collection of art, and theatre department props) to virtual curation. This topic is taken up by McTavish's essay in Janet Marstine's New Museum Theory, a book that we've discussed on this blog previously. There were plusses and minuses of dealing with the digital realm: plusses include the ability to keep a record of the conversation; the ability to edit repeatedly, and the ability for others to hear and comment on our work. Minuses include the need to work with a new program (Audacity); the complications that arise when working with technology; and the very public nature of this project -- now.
As Marshall Berman, then prof of political theory at CUNY, remarked in his early review of Terkel's Working, as an incredibly rich, close tapestry of stories. Before addressing the book, however, Berman addresses the genre in which it came, the Popular Front of the 1940s-60s, an era that put humanity as part of "a great river of humanity, flowing through the heart of the country, America's primal source of life and energy....fed by a thousand streams...from every occupation... every race and color and ethnic group, every class..." This project is much less ambitious than those aims above, and yet, the outcomes are significant: the project offered the students the opportunity to spend time with a person, discuss one or many topics face-to-face, and to listen to another individual. There were very few limitations placed on the student, in terms of who to select for their interview. They chose a parent (as a way to learn about the student's father, who is deceased), a former co-worker, a high school Calc and a high school English teacher, and a grandparent.
As you might suspect, I could go on and on about this project. So, if you're interested in hearing more from me, do let me know. But, at any rate, the interviews are below. Take a listen and let us know what you think. We hope that you enjoy them!