New models for Socially Engaged Curatorial Practice and its position within the museum.
Citation Summary: Citizen Journalism: Practices, Propaganda, Pedagogy by Melissa Wall (Routledge, 2019)
- Submitting institution
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Liverpool John Moores University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32MB1
- Type
- T - Other
- DOI
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- Location
- Multiple
- Brief description of type
- Multi Component Output
- Open access status
- Out of scope for open access requirements
- Month
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- Year
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
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- Criminology
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- Interdisciplinary
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- Number of additional authors
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0
- Research group(s)
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2 - Exhibition Research Lab
- Proposed double-weighted
- No
- Reserve for an output with double weighting
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- Additional information
- Birchall’s research develops, tests and elucidates new models of social practice in the museum over an extended timeframe of inquiry. He curated ‘O.K. – The Musical’ (2017, Tate Liverpool) and published two book chapters and two journal articles (2017 - 2020), seeking to innovate and test new models of collaboration between audiences, artists, and curatorial teams. Participatory, social and engaged strategies often manifest as practice that does not adhere to established concepts of art and curating (Birchall, ‘Situating Participatory Art Between Process and Practice’, ARKEN Bulletin, 2017). Extending and embedding the realisation of the social turn in art (Bishop, 2001), Birchall presents a radical methodology for curatorial practice within established art institutions, to facilitate and generate sustainable projects that seek to create relevant platform for audiences beyond standard practice of exhibition display in the white cube. Birchall’s essays expose the artistic and political background for socially engaged practices, ‘the educational turn’, and the ways in which these practices manifest themselves within and beyond the museum (Birchall, ‘History of Socially Engaged Art’, Duke University Press 2020). Projects such as ‘O.K.’ developed immersive environments that placed the museum in unprecedented dialogue with audiences. This has given rise to a new model of discursive practice inside the museum, specifically, the mechanism of ‘art - knowledge - programme’, and how this alters art’s relationship to production. Unlike conventional models of display, these socially engaged programmes seek to transform and engage audiences through long-term projects that happen inside the gallery space (Birchall,‘The Role of Public Practice in the Museum’, Sternberg 2020). Crucially, the function the museum occupies has led to participatory strategies being adopted in other areas of society, including that of healthcare and journalism.
- Author contribution statement
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- Non-English
- No
- English abstract
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