Thirteenth International Conference on The Inclusive Museum

Abstract

‘The point of inclusion—from the standpoint of becoming increasingly culturally responsive, responsible, aware, and competent—is to do less harm than we and others have done in the past—ultimately to do no harm.’ Cecile Shellman. This paper outlines the impact of linear binary approaches to the curatorship and exhibition programming of contemporary and historic works of art. It is the author’s position that if curators are to fully embrace values associated with inclusion, they must address the curatorial practices that have constrained some voices whilst privileging others. Unpacking the privileges afforded to particular histories, Contemporary Curatorship discusses fluid models of curatorship that accept responsibility for the impact of non-inclusive curatorial practices. Re-thinking the responsibilities associated with personal and shared histories, high and low art, the discarded and the treasured, this paper articulates the role of inclusion in generating richly layered nuanced exhibitions. Drawn from the author’s experiences as an artist, curator, and academic, this paper includes case studies that shine light on new possibilities for the processes of working with artists, presenting art history in contemporary contexts and the role of artists/ curators in a climate of deeply contested perceptions of time, space, and ownership.