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Short Course



Student Andrea MacDonald at CRUMB event in Liverpool.Glass Centre - Vaclav Cigler intstallationTaiwo Dedeke (left)Vardy Gallery - Joyce Hinterding installationCourse in London in V&A print room. Phoro: Victoria Bradbury

"As an artist, it helped me understand the thought processes behind curating as well as the practical side"
Jack Kershaw

"This year is a precious memory in my life. You have greatly improved my professional knowledge, and my enthusiasm for British culture."
Rui Chen

Practice and Theory

Artwork by Ritsuko Taho from exhibition Serious Games Curated by Beryl Graham

CIRCA art exhibition at Stephenson Works, Newcastle.

Exhibition curated  by Sarah Cook and Sabine Himmelsbach

Beamish Museum visit, interpreter in pit cottage

Hayward Gallery

Beamish Open Air Museum student visit

BALTIC scissor lift

Back cover data analysis of the text of Rethinking Curating by Graham and Cook



This Masters has been praised for its rigourous combination of practice and theory by external examiner Bernadette Buckley (Goldsmiths College, University of London).

Targeted visits to arts organisations give students direct experience of the contemporary practices of curators, registrars, conservators, installation technicians, educators and others working in the arts. Staff research interests have outcomes in publishing and exhibition at world-leading level. The genealogies and visions of ways of curating are examined critically in terms of their suitability for different artforms and different cultural contexts.

A unique strength of the course is a grounded understanding of the economics and politics of regional contexts, combined with the international practices of staff, and a stage of the course taught in London. This gives students a strong network for their futures, wherever they might practice. The course is also unique in its critical approach to notions of audience as participants, and consideration of contemporary forms of collaborative, distributed or discourse-based curating. A solid undertanding of new media both as art and as a tool for distribution, education, and marketing, is integrated into the curation of art and culture in the widest sense.

Stage 1 Postgraduate Certificate (PgC) 60 credits - two modules:
- Genealogies of Curating
- Mechanics of Curating
These critically examine and explore the theories and origins that contribute to the forms of contemporary curating. Curatorship, curating and collections management is placed within a range of historical contexts. The principles and practices of curating in contemporary art and design galleries is analysed with field trips to regional cultural institutions.

Stage 2 Postgraduate Diploma (PgD) 60 credits
- Contexts of Curating
- Visions of Curating
Stage 2 focuses on contemporary art and design infrastructures in London, in the context of regional and international curating. The vocational and professional skills needed for individual and collaborative development in curating are investigated in relation to place, space and time, to give insights into professional practice, from collections and exhibiting to educational and participatory curating work. An inspection of non-gallery related strategies enables the possibility for advanced strategies to be developed beyond existing practice.
[This stage is also available as a non-accredited Professional Development Short Course. If accreditation is desired, this is possible dependent on Accreditation of Prior Learning for Stage 1 and successful completion of assignments.]

Stage 3 Masters (MA) 60 credits
- Curatorial Practice
Stage 3 is self-negotiated and enables students to achieve the Masters degree with a practical project/reportTeaching will be largely through lectures, seminars and visits. Assessment will be through essays, reports, proposals, module journals (to include visual information) and presentations. Assessment for the final project in Curatorial Practice will include visual and textual presentation in the form of a detailed proposal and report.

Student Projects

"Diverse programme of topics from museum and gallery studies to new media and supportive toward the development of a range of individual curatorial approaches…"
Clare Ruddock

Mobile Cinema Caravan in the RISK exhibition, Glasgow CCAImage by Suzanne Homer  ‘Alnmouth’ from Practical Ruralism

Indigo exhibition in Whitworth Museum, photo by Taiwo Dedeke


Examples of assignment submissions by students:

  • Black Art and Museums.
  • Mobile Media: A Caravan Cinema.
  • Radical Performance Events.
  • Audience Feedback Device: China and UK.
  • Bears: Gay Men and Photography.
  • Public Relations: A Proposed Mode of Practice as an Independent Curator.
  • Computer Games: Narrative, landscapes and journeys.
  • Adire Festival in Abeokuta, Nigeria Compared with Indigo fabric art in Whitworth Art Gallery, Manchester.
  • 'Practical Ruralism' - Curating Contemporary Art in a Rural Context.
  • Korean, Japanese and Chinese Installation Art.




^Top | last updated Jun 2016| Email Beryl Graham.