This unit of study introduces students to object-based skills and issues in the history of art. It considers issues and problems related to connoisseurship, conservation, display and interpretation in the context of museums and art galleries. The unit also provides an introduction to the materials and techniques of art production. Much of the material is presented on-site by curators of the Art Gallery of NSW.

This unit of study explores the art museum from its origins in Renaissance and Baroque princely and aristocratic collections, through to the creation of new public spaces and institutions for exhibiting art in the 18th and 19th centuries, including national Academies and international exhibitions. Shifting conceptions of the role of the art museum will be addressed: from public instruction to nation building and mass entertainment. The final section explores current debates, including those posed by an expanding range of new media and changing audience perceptions.

Students will study the changing role of the curator from traditional contexts in the art museum to contemporary art spaces, public sites, globalized and virtual settings. We examine the curator's increasingly creative role when traditional art hierarchies are radically challenged and divisions of artistic and curatorial labour become blurred.

Australian Art writing/criticism: theories and methods. The unit explores the varieties of art writing, particularly those which engage with the ongoing production of art and its institutions. This will be pursued through:
(i) a study of the practice of individual critics of modern art;
(ii) examination of the work of recent and current art writers, particularly in Australia;
(iii) direct practice in a number of different writing genres. The results of (i) and (ii) will be presented in the form of both class papers and essays; (iii) will take the form of writing exercises with stipulated frameworks.

This unit introduces students to the history and current practices of the business of art through site visits, case studies and lectures. The unit includes the study of established and emerging art markets, auction houses, concepts of authenticity, aesthetic and monetary value, collecting and exhibiting art for private, corporate public and satellite art collections, artist run and alternative spaces, corporate sponsorship and grants, art museums and tourism, and the principles of law and ethics.

This unit explores the historical emergence and rapid growth of contemporary international surveys of art since the 1960s. The Biennales, Triennales, Documentas and related international exhibitions are a spectacular cornerstone of today's global art industry. The proliferation of museums, exhibitions, art fairs and cultural events at the international level are now competing with other areas of mass entertainment. In particular, the international contemporary art survey has become a pre-eminent, critical platform for art, trade and cultural politics. The unit is run in conjunction with the Biennale of Sydney. It is an intensive class, with a large component held in situ at Biennale exhibitions, performances, conferences and satellite events.

The unit engages students with the particular sensitivities and protocols involved in caring for historic and contemporary collections of Indigenous art and culture in Australia and overseas. Shifts in the balance of cultural power have compelled many museums to critically reflect on the way that Indigenous collections and objects are stored, handled, interpreted and displayed and this unit will examine the theories and methodologies of Indigenising museums.

Master degree candidates only may undertake research and writing on an approved topic towards a dissertation of 12000 words under the supervision of an academic staff member. The topic is elective. Art Curatorship students have the option of writing a thesis in the form of an exhibition plan and catalogue Essay. The dissertation is equivalent to two units of study. Students enrol in ARHT6920 Dissertation 1 in their first semester of research and complete by enrolling in ARHT6921 Dissertation 2 in the following semester.

Master degree candidates only may undertake research and writing on an approved topic towards a dissertation of 12000 words under the supervision of an academic staff member. The topic is elective. Art Curatorship students have the option of writing a thesis in the form of an exhibition plan and catalogue Essay. The dissertation is equivalent to two units of study. Students enrol in ARHT6920 Dissertation 1 in their first semester of research and complete by enrolling in ARHT6921 Dissertation 2 in the following semester.

The capstone internship for Master of Art Curating students is a project-based placement of 20 days minimum in an art gallery, museum or appropriate art organisation in Sydney, Australia or overseas. Internships invite critical reflection on art curatorial practice, foster the acquisition of essential knowledge and skills, and enhance students' employment prospects in the sector. Projects are supervised by a professional from the host institution and focus on specific areas of work eg. curatorial or collection research, exhibition development and installation, public programs or registration.

This unit explores the interplay between art and disease in Renaissance Italy. Issues to be investigated include: the religious and psychological effects of catastrophic disease, such as the Black Death, and the possible effects on art; images of death and disease before and after the plague; the prophylactic role of images; Renaissance conceptions of the workings of the celestial court; civic, corporate, familial and individual patronage of plague images.

The relation of film to industrial modernity is an ongoing issue for film theorists. With the advent of digital image processes and production the relation of art and industry has re-emerged with a new set of problems. How do we conceptualise the new forms? What theoretical and aesthetic language(s) do we draw on? And how best to rethink film in the face of rapid technological, formal and cultural change? These issues will be investigated via an examination of the history of film theory's attempts to formulate concepts adequate to the age of industrial modernity.

This unit explores the historical emergence and rapid growth of contemporary international surveys of art since the 1960s. The Biennales, Triennales, Documentas and related international exhibitions are a spectacular cornerstone of today's global art industry. The proliferation of museums, exhibitions, art fairs and cultural events at the international level are now competing with other areas of mass entertainment. In particular, the international contemporary art survey has become a pre-eminent, critical platform for art, trade and cultural politics. The unit is run in conjunction with the Biennale of Sydney. It is an intensive class, with a large component held in situ at Biennale exhibitions, performances, conferences and satellite events.

This unit investigates the development of Asian art exhibitions and the role of the curator of Asian art. Course material will be based on the broad range of activities of local curators, including the Art Gallery of New South Wales, the Museum of Contemporary Art and the Asian Australian Arts Centre. Issues examined include museum policy, research resources, staffing structures, publicity and educational activities. Comparative case studies will be made of pre-modern, modern and contemporary Asian art exhibitions.

Art curatorship is both a practical and theoretical activity, one that could be said to itself create rather than simply respond to the aesthetic debates within art history and film studies. This unit critically analyses the practical decisions curators, exhibition designers and educators make in staging and framing art exhibitions, developing the various aesthetic implications of these decisions. Students will be encouraged to apply a range of critical methodologies from art history and visual theory to the study of recent art exhibitions, addressing different curatorial display strategies.

The elective internship for Art Curating students is a project-based placement of 20 days minimum in an art gallery, museum or appropriate art organisation in Sydney, Australia or overseas. Internships invite critical reflection on art curatorial practice, foster the acquisition of essential knowledge and skills, and enhance students' employment prospects in the sector. Projects are supervised by a professional from the host institution and focus on specific areas of work eg. curatorial or collection research, exhibition development and installation, public programs or registration.

This unit engages with the special collections of the Mitchell Library, which is renowned as a repository for both Australasian art works and the historical documentation that supports them. Integrating the practical and scholarly elements of art history and art curatorship, it provides hands-on training in combining visual analysis with primary research. Relevant issues include the relationship of object and text, the comparison of contemporary perspectives with historical records, and the reliability of primary and secondary sources.

This unit of study provides and interactive curating experience within a laboratory environment, exploring curatorial frameworks, methodologies and approaches. Students develop a curated project from concept to exhibition that emphasises collaborative working processes between curatorial teams, the artist, object, and institution.

This unit examines cultural policy across a range of sectors such as museums and heritage, the arts, media, and the 'cultural industries'. It will provide theoretical perspectives and practical insight into policy formation processes in Australia and internationally. The multiple actors and rationales that shape policy and ground claims for its relevance amid social change and cultural diversity are considered. Students learn how to analyse policies in relation to the institutional, social and political contexts of their emergence.

Presenting collections, objects and places to the public is a major focus for museums, galleries and heritage organisations. The development of interpretation strategies and public programs to engage, educate and entertain audiences are regarded as key to the long-term viability of cultural institutions. This unit examines the theories and practices of museum education, heritage interpretation, audience research, communication and learning. The development and delivery of education, interpretation and visitor programs are examined in case studies and through practical work.

How museum collections and heritage places are managed and listed is a core function of cultural institutions. From global contexts, such as World Heritage, to national, regional and local museum collections and heritage lists, understanding how objects and places are documented, assessed, and registered is important for both museum and heritage practice. This unit introduces students to the theories and practices of collection and heritage management through current issues in the development, policy and maintenance of cultural collections and places.

Understanding display practices in museums is central to the functions of these cultural institutions. This unit of study examines the way in which exhibitions may function by exploring current issues and debates associated with the practice of exhibiting. We will consider how different spaces inform the interpretation of the cultural material and information displayed. In particular, we will examine the issue of representation as it relates to the museum context. This unit of study will provide students with an overview of the intellectual discourses and practical knowledge used to analyse, conceptualise, propose and develop exhibitions.

Good management is critical to the long-term survival of museums as vibrant cultural institutions. This unit of study explores the characteristics of a well managed facility providing students with the skills necessary to evaluate the operational context of museums, in terms of budget, human resource management and general cultural stewardship. The unit balances practical skill acquisition - in key management areas like strategic planning and project management - with a broader analysis of how the cultural sector is positioned in relation to government and other stakeholders.

This unit tracks the ethical and political disputes surrounding the ownership, control and care of cultural property. It begins by establishing historical attitudes towards cultural property which are then compared to current attempts to protect cultural heritage and regulate its movement. In doing so it considers how, more recently, museums have entered into dialogues with source communities about restitution and repatriation, new methods of display and ongoing relationships. The unit analyses numerous Australian and international case studies in order to define current models of best practice.

This unit investigates the current use and adoption of digital media across the museum and gallery sectors internationally. It considers how museums use digital technologies to augment the visitor experience spatially, intellectually and socially by developing digitally interactive exhibitions, online engagement tools and a social media presence. Combining field trips, workshops, seminars and guest speakers, this course is an opportunity to build critical understanding of diverse applications of technology in the museum context and practical skills in the development of digital engagement programs.

This elective is designed for International postgraduates who are new to study in an English language university. It supports the development of study, research, and critical thinking abilities, spoken English and academic language. Knowledge acquired in this unit will strengthen written and spoken English to help meet the standards necessary for successful completion of FASS Masters by coursework degrees. It is recommended that this elective be taken during the first semester.

This elective supports development of skills in critical analysis, writing in different genres, research, presentation, and developing individual scholarly 'voice'. While valuable for all commencing postgraduates, it is of particular benefit to those returning to academia after an extended break, or for International students wishing to orient themselves to local standards of practice for academic communication. This unit is structured to have additional seminars and lectures early in the semester and fewer later in the semester so students have the opportunity to apply new skills to all their coursework. The unit is ideally taken in the first semester of study.

This unit introduces theories of professional writing with a specific focus on composing in the workplace. Students will develop abilities in analysing, writing, revising, and delivering workplace texts, both print and multimedia. By examining and discussing a range of actual workplace documents, from emails to websites, students will gain a broader understanding of the rhetorical principles and ethical responsibilities inherent in professional writing practice. They will improve their ability to negotiate the relationships, tensions, and politics that influence workplace writing contexts.

This unit introduces practical techniques for editing workplace documents for increased clarity and effectiveness. Applying theories and principles of visual rhetoric, students will learn how to improve the readability and reception of workplace texts according to audience conventions and expectations. By analysing actual workplace documents, students will develop their critical reading abilities and gain a better understanding of how to edit texts for word economy, improved design and layout, and inclusive language. Editing print texts for digital or oral presentation will also be emphasised.