To gain insight in the theory and practice of crossmedial exhibitions.
How do exhibition curators, exhibition designers, policy makers and
financiers, marketing managers and the press, deal with exhibitions that
clearly cross the borders of different media and art forms? Because of
the nature of the subject matter, the course will not limit itself to a
study of the available literature on the subject but also give students
direct contact with the Dutch museum and exhibitions world, seen from
different professions & perspectives. Thus giving first hand insight
into wideranging and sometimes also conflicting interests within the
Dutch cultural territory. Intrinsically the course deepens discussions
within museum and exhibition studies in the 21th century.
This course focuses on one cross-medial event (a major temporary or
permanent exhibition) in which different stakeholders have
dealt with the problem of intermediality: policy makers, financiers,
curators, designers, multimedia creatives, p.r. agents and the press.
How did these various parties deal with artistic practices that surpass
medial boundaries, when their backgrounds are mostly mono-medial? About
audience participation, narrativity, exhibition design, the use of new
media (incl. social media): how does the museum of the 21th century deal
with this? Previous exhibitions analyzed were "The Art of Fashion.
Installing Allusions" (Museum Boijmans, 2009), "Illusions of Reality.
Naturalist Painting, Photography and Cinema, 1875- 1918" (Van Gogh
Museum, 2010), "Amsterdam DNA" (Amsterdam Museum, 2012), "Oskar
Fischinger" (EYE, Amsterdam 2013), "Jeff Wall" (Stedelijk Museum, 2014),
"Anthony McCall"/"Jean Desmet's Dream Factory" (EYE, 2015),
Michelangelo Antonioni/Close Up (EYE, 2015-2016), and Happy Birthday
Marilyn/ 1917: Romanovs & Revolutie (De Nieuwe Kerk/Hermitage).
Form of tuition
Seminar. Weekly meetings (max. 4 hours), including lectures, discussions
with professionals, excursions, and presentations. Students read texts
for literature discussions, prepare questions to the professionals and
start and give updates on their own research, related to the course's
content. They hold a
(single or group) presentation, focusing on museums, exhibitions, and
art or media,
in relation to crossmediality. The presentation is the prologue to the
(individual) final essay.
Type of assessment
100 percent attendance, assignments, presentations and essay. Failing to
be present at the first meeting or the presentation may result in
removal from the
Articles, either e-book or on Canvas.
Bachelor degree in Comparative Arts and Media Studies or comparable
bachelor's programmes in Art, Media or Cultural Studies.
Master students CAMS (Comparative Arts and Media Studies). Limited
access to outsiders. The number of regular CAMS students will
determine whether outsiders will be admitted (course allows for 25
students in total).