Outline

Overview

Writing is essential for working in art galleries and museums, such as interpretive texts for audiences, research for publications, education, criticism, or for digital media. This unit will study essential texts by curators and critics and offers workshops to develop skills in writing for a range of contexts, objects, and art forms. Engage in research and writing methods for object labels, podcasts and audio guides, audiences with diverse needs, auction catalogues and other contexts. The modules offer interactive platforms and collaborative learning opportunities with the Chau Chak Wing Museum and local collections to build experience and enhance skills for career readiness or development.

Unit details and rules

Academic unit	Art History
Credit points	6
Prerequisites ?	None
Corequisites ?	None
Prohibitions ?	None
Assumed knowledge ?	None
Available to study abroad and exchange students	Yes

Teaching staff

Coordinator	Yvonne Low, yvonne.low@sydney.edu.au

Assessment

The census date for this unit availability is 31 August 2026

Details
Criteria

Type	Description	Weight	Due	Length	Use of AI
In-person written or creative task	Exhibition Text Students will write a set of three labels: a thematic label situating a work within broader ideas or an artist's practice; an object-level label describing a specific work in detail; and a children's/family label for that same work.	20%	Week 05 Due date: 02 Sep 2026 at 23:00 Closing date: 02 Sep 2026	900 words (equivalent)	AI prohibited
Outcomes assessed:
Creative work	Gallery Guide Students will create an audioguide for a 鈥榟ighlight鈥� tour of the Chau Chak Wing Museum.	40%	Week 09 Due date: 05 Oct 2026 at 23:00 Closing date: 30 Nov 2026	2600 words (equivalent)	AI allowed
Outcomes assessed:
Written work	Research Essay Students may choose to write either an introductory essay for an exhibition catalogue or an exhibition review.	40%	Week 13 Due date: 06 Nov 2026 at 23:00 Closing date: 30 Nov 2026	2500 words	AI allowed
Outcomes assessed:

Assessment summary

Exhibition Text (In class assessment) 500 words

Exhibition Guide (Recorded and Transcript) 2000 words听

Research Essay (catalogue essay or exhibition review) 2000 words听

Assessment criteria

The University awards common result grades, set out in the (Schedule 1).

As a general guide, a High distinction indicates work of an exceptional standard, a Distinction a very high standard, a credit a good standard, and a pass an acceptable standard.

Result name	Mark range	Description
High distinction	85 - 100	听
Distinction	75 - 84	听
Credit	65 - 74	听
Pass	50 - 64	听
Fail	0 - 49	When you don鈥檛 meet the learning outcomes of the unit to a satisfactory standard.

For more information see

For more information see guide to grades.

Use of generative artificial intelligence (AI)

You can use generative AI tools for open assessments. Restrictions on AI use apply to secure, supervised assessments used to confirm if students have met specific learning outcomes.

Refer to the assessment table above to see if AI is allowed, for assessments in this unit and check Canvas for full instructions on assessment tasks and AI use.

If you use AI, you must always acknowledge it. Misusing AI may lead to a breach of the听Academic Integrity Policy.

Visit the听Current Students website听for more information on AI in assessments, including听details on how to acknowledge its use.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

Deduction of 5% of the maximum mark for each calendar day after the due date.
After ten calendar days late, a mark of zero will be awarded.

This unit has an exception to the standard University policy or supplementary information has been provided by the unit coordinator. This information is displayed below:

5 marks for every day late

Academic integrity

The University expects students to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.

Our website听provides information on academic integrity and the resources available to all students. This includes advice on how to avoid common breaches of academic integrity. Ensure that you have completed the听Academic Honesty Education Module (AHEM)听which is mandatory for all commencing coursework students

Penalties for serious breaches can significantly impact your studies and your career after graduation. It is important that you speak with your unit coordinator if you need help with completing assessments.

Visit the听Current Students website听for more information on AI in assessments, including听details on how to acknowledge its use.

Learning support

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a听simple extension.鈥� The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can鈥檛 complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for听special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students,听听includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

Support for students

The Support for Students Policy听reflects the University鈥檚 commitment to supporting students in their academic journey and making the University safe for students. It is important that you read and understand this policy so that you are familiar with the range of support services available to you and understand how to engage with them.

The University uses email as its primary source of communication with students who need support under the Support for Students Policy. Make sure you check your University email regularly and respond to any communications received from the University.

Learning resources and detailed information about weekly assessment and learning activities can be accessed via Canvas. It is essential that you visit your unit of study Canvas site to ensure you are up to date with all of your tasks.

If you are having difficulties completing your studies, or are feeling unsure about your progress, we are here to help. You can access the support services offered by the University at any time:

Support and Services (including health and wellbeing services, financial support and learning support)
Course planning and administration
Meet with an Academic Adviser

Weekly schedule

WK	Topic	Learning activity
Week 01	An Introduction: Ways of seeing, Ways of writing	Lecture (1 hr)
Week 01	An Introduction: Ways of seeing, Ways of writing	Tutorial (1 hr)
Week 02	Engaging with Audiences	Lecture (1 hr)
Week 02	Engaging with Audiences	Tutorial (1 hr)
Week 03	The art writer鈥檚 toolkit (part 1)	Lecture (1 hr)
Week 03	The art writer鈥檚 toolkit (part 1)	Tutorial (1 hr)
Week 04	Art Writer鈥檚 Tool Kit Part 2	Lecture (1 hr)
Week 04	Art Writer鈥檚 Tool Kit Part 2	Tutorial (1 hr)
Week 05	Writing Workshop: Writing Labels (Assignment to be completed in Class)	Lecture (1 hr)
Week 05	Writing Workshop: Writing Labels (Assignment to be completed in Class)	Tutorial (1 hr)
Week 06	Blogs and Biographies: Making (Art) History Interesting	Lecture (1 hr)
Week 06	Blogs and Biographies: Making (Art) History Interesting	Tutorial (1 hr)
Week 07	The Art of Guided Looking	Lecture (1 hr)
Week 07	The Art of Guided Looking	Tutorial (1 hr)
Week 08	Art, Artists and their Stories [Site Visit: Chau Chak Wing Museum]	Lecture (1 hr)
Week 08	Art, Artists and their Stories [Site Visit: Chau Chak Wing Museum]	Tutorial (1 hr)
Week 09	Representation, Voice and Agency	Lecture (1 hr)
Week 09	Representation, Voice and Agency	Tutorial (1 hr)
Week 10	Writing for the Exhibition: Constructing a Narrative	Lecture (1 hr)
Week 10	Writing for the Exhibition: Constructing a Narrative	Tutorial (1 hr)
Week 11	Finding a critical voice: Writing reviews	Lecture (1 hr)
Week 11	Finding a critical voice: Writing reviews	Tutorial (1 hr)
Week 12	Project Development Workshop	Lecture (1 hr)
Week 12	Project Development Workshop	Tutorial (1 hr)
Week 13	A coda	Lecture (1 hr)
Week 13	A coda	Tutorial (1 hr)

Attendance and class requirements

Attendance: According to Faculty Board Resolutions, students in the Faculty of Arts and Social Sciences are expected to attend 90% of their classes. If you attend less than 50% of classes, regardless of the reasons, you may be referred to the Examiner鈥檚 Board. The Examiner鈥檚 Board will decide whether you should pass or fail the unit of study if your attendance falls below this threshold.
Lecture recording: Most lectures (in recording-equipped venues) will be recorded and may be made available to students on the LMS. However, you should not rely on lecture recording to substitute your classroom learning experience.
Preparation: Students should commit to spend approximately three hours鈥� preparation time (reading, studying, homework, essays, etc.) for every hour of scheduled instruction.

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 6 credit point unit, this equates to roughly 120-150 hours of student effort in total.

Required readings

Week 1 5 August 2026

Yvonne Low
An Introduction: Ways of seeing, Ways of writing

听

We look forward to meeting and getting to know each other better. This seminar introduces the unit, assessments and learning outcomes. We will explore art writing as a critical 鈥榗urator鈥檚鈥� tool and to consider more expansively the function of writing in exhibitions and the wider museum industry. What does it mean to write purposefully, 鈥榩lainly鈥� or creatively in a gallery and museum? This first lecture briefly explores writing about art (and writing in art history) as a creative process, and how writing gives meaning to art from multiple viewpoints.听

听

Readings:
. Surface, Mary Hall and Ryan, Nathalie. 鈥楧eveloping close looking, creativity, and community through writing and art鈥�, Journal of Museum Education 43, no. 4 (2018): 356-364.
. Sabeti, Shari. 鈥榃riting creatively in a museum: tracing lines through persons, art objects and texts鈥�, Literacy 50, no. 3 (2016): 141-148

听

Week 2 12 August 2026

Jennifer Blunden听

Engaging with Audiences

There are many different audiences that museum and gallery writers seek to engage. These include external visitors with diverse backgrounds, interests and needs as well as colleagues, stakeholders and industry. This session will explore the needs and interests these various audiences and examine strategies for ensuring they are effectively engaged in our writing.听

Readings:
. Deeth, Jane (2012). 鈥楨ngaging strangeness in the art museum: an audience development strategy鈥�, Museum & Society 10(1): 1鈥�14
. Gurian, Elaine (2017). 鈥�The importance of and鈥�, MuseumNext conference, ACMI, Melbourne.
. Hooper-Greenhill, Eileen. (2000). 'Changing values in the art museum: rethinking communication and learning', International Journal of Heritage Studies, 6(6), 9鈥�31.

听

Week 3 19 August 2026

Jennifer Blunden听

The art writer鈥檚 toolkit (part 1)

听

In this and the following session this afternoon, we will take a close-up look at how writing makes meaning. We will explore some key concepts about language and how they can be used as powerful tools for creating and critiquing different types of museum texts 鈥� powerful in the sense of 鈥榮harpening our eyes鈥� so we can see more clearly the implications in meaning of choices we make in language 鈥� and use those insights to create, shape, deconstruct and talk about written texts with greater precision and delicacy. In this first session we will focus on the nature and important role of verbs 鈥� their 'voice', their 'type' and what the term 鈥榓ctive鈥� language actually means. We will also look at text structure and how to manage the flow of meaning so your writing is clear, coherent and easy to follow.

听

Readings:
. Sword, Helen (2015). The Writer鈥檚 Diet, chapter 2, 鈥榁erbal verve鈥�, Auckland University Press, pp13鈥�22.
. Williams, Gilda (2015). How to write about contemporary art, chapter 2.4 Practical 'how-to's, Thames & Hudson, pp59鈥�83.

听

Week 4 26 August 2026

Jennifer Blunden

Art Writer鈥檚 Tool Kit Part 2

听

In this session we continue to delve more deeply into the qualities and features of written language, focusing on the quality of 鈥榓ccessibility鈥�. What does 鈥榓ccessible鈥� mean in terms of writing? What makes some art writing so difficult or alienating, and other art writing the complete reverse? This session will look at the impact of specific word choices and order, and unpack the critical relationship between spoken and written language and between 鈥榓cademic鈥� and everyday language.

听

Readings:
. Blunden, Jennifer (2017). The Sweet Spot? Writing for a Reading Age of 12. Curator, 60(3), 291鈥�309.
. Sword, Helen (2015). The Writer鈥檚 Diet, chapter 1, 鈥楴oun density鈥�, Auckland University Press, pp23鈥�31.

听

Week 5 2 Sept 2026

Yvonne Low

Writing Workshop: Writing Labels (Assignment to be completed in Class)

听

For the first assignment, students will write a set of three labels: a thematic label situating a work within broader ideas or an artist's practice; an object-level label describing a specific work in detail; and a children's/family label for that same work that is engaging and accessible. Further details will be provided on Canvas. Students will be well-supported to complete this assignment from Weeks 2-4.

听

Week 6 9 Sept 2026

Yvonne Low

Blogs and Biographies: Making (Art) History Interesting

听

Platforms such as Khan Academy and SmartHistory are highly popular sites designed to educate both broad and targetted audience on the rich and dynamic histories of art spanning the historical and the contemporary. Often written by specialists, these entries are written journalistically with the aim of making history interesting, as opposed to dull and prosaic! Students will focus on developing biographical narratives. Artists鈥� biographies is a popular genre of writing and does much to give visibility to artists who may be left out from canonical art histories. Often diverse and dynamic (no one person鈥檚 life is ever the same as another!) students will examine current examples such as projects initiated by AWARE and others.

听

Readings:
. Wald, Gayle. "Rosetta Tharpe and Feminist 鈥淯n-Forgetting鈥�." Journal of Women's History 21, no. 4 (2009): 157-160.
. Hudson, Lynn M. "Lies, Secrets, and Silences: Writing African American Women鈥檚 Biography." Journal of Women's History 21, no. 4 (2009): 138-140.
. Kathryn Brown and Elspeth Mitchell, 鈥淔eminist Digital Art History鈥�, in ed. Kathryn Brown, The Routledge Companion to Digital Humanities and Art History (New York: Routledge, 2020) 43-57.听

听

Week 7 16 Sept 2026

Yvonne Low听

The Art of Guided Looking听

听

For this seminar, we will explore strategies of social inclusion in a museum context so as to offer a rich and rewarding experience to all visitors. What does it mean to engage audience meaningfully in a primarily visuo-centric environment? We will explore a range of strategies used by curators to engage visitors, and to expand their experiences; we will discuss the benefits of incorporating Audio Description (AD) in Standard Audio Guides (SAG) and we will look at current audio tours offered by the AGNSW to gain an insight to current practice. We will then apply these strategies to the writing and designing of an audio-guide for Chau Chak Wing Museum.

Readings:
. Hutchinson, Rachel and Eardely, Alison. 鈥業nclusive museum audio guides: 鈥榞uided looking鈥� through audio description enhances memorability of artworks for sighted audiences鈥�, Museum management and curatorship 36, no. 4 (2021): 427-446.
. Hadley Bree, and Rieger, Janice. 鈥楥o-designing choice: objectivity, aesthetics and agency in audio-description鈥�, Museum management and curatorship 36, no. 1 (2021): 189-203.听

听

Week 8 23 Sept 2026

Yvonne Low
Art, Artists and their Stories [Site Visit: Chau Chak Wing Museum]

We will explore a range of specialist collections and meet curators developing exhibitions for the state gallery. We will learn how concepts are pitched and how narratives are developed across selected artworks. From this site visit we will gain a better understanding of the curatorial processes that typically take place in developing art exhibitions. The visit will include curator talks, tour of the galleries and a practical tutorial all onsite at the gallery.听

听

Break 28 Sept - 5 Oct 2026听

听

Week 9 7 Oct 2026

Jennifer Blunden听

Representation, Voice and Agency
听

Debates and issues that face museums and galleries today, and, consider the role and responsibilities of writers relative to these broader community contexts and expectations. We will focus on issues around representation, voice and agency, particularly in relation to contexts of decolonisation and gender, and in terms of content, process and impact.

Readings:
. Adair, Joshua & Levin, Amy (2020). Introduction in Adair, Joshua & Levin, Amy (eds), Museums, sexuality and gender activism, Routledge, pp5鈥�20.

. Coombes, Annie & Phillips, Ruth (2020). 鈥業ntroduction: dynamics of democratization and decolonisation鈥� in Coombes, Annie & Phillips, Ruth (eds), Museum transformations: decolonization and democratization, Wiley Blackwell, Hokoben NJ & Chichester UK.

. Sandell, Richard (2017). 鈥楳useums and the transgender tipping point鈥�, chapter 5 in Museums, moralities and human rights, Routledge, pp111鈥�134.

听

Week 10 14 Oct 2026

Yvonne Low听

Writing for the Exhibition: Constructing a Narrative

We will look at how a specific exhibition narrative with clear conceptual positioning, can be best communicated through the different forms of writing needed in the context of an exhibition display. Using a small to medium size visual art exhibition with focus on decolonial museum practices as an example, the lecture will explore: What are the different types of writing outputs required and how must they distinctly and collectively operate to tell a story? What approaches might one take to ensure effective and inclusive communication? This session will focus on one of two foundational long-form formats: the exhibition catalogue.

Readings:
. Dragojlovi膰, A. and Quinan, C. (2023). "Queering and decolonising the museum: 鈥榠n the presence of absence鈥� exhibition at the stedelijk museum". Memory Studies, 16(1), 161-165.

. Howell, D. (2015). "Telling the story of welsh art鈥攂ut is anyone listening?" in 听Curator: The Museum Journal, 58(4), 423-433.

. Mason, R. et. al. "One Voice to Many Voices? Displaying Polyvocality in an Art Gallery" in Museums and Communities : Curators, Collections and Collaboration, edited by Viv Golding, and Wayne Modest, Bloomsbury Publishing Plc, 2013.

听

Week 11 21 Oct 2026

Jennifer Blunden

Finding a critical voice: Writing reviews听

In this session we explore the role of the critical voice, particularly in relation to the visual arts. Art criticism is a process of responding to, interpreting meaning, and making critical judgments about specific works of art or objects. Looking to the core steps of describing, analysing, interpreting, evaluating and contextualising, we will focus on one of two foundational long-form formats: the exhibition review. What are their essential similarities and differences in terms of purpose, audience, structure and critical voice? How might we as authors bring our own voice to these forms? We will also consider the role of and approaches to incorporating primary and secondary sources/research.

听

Week 12 28 Oct 2026

Jennifer Blunden / Yvonne Low

Project Development Workshop/Second Assignment Showcase and Debrief

听

Please see canvas for further details.听

听

Week 13 4 Nov 2026

Yvonne Low
A coda

And so we have come to the end of the unit, and full cycle back to the first seminar many weeks back when we first encounter this thing called the "narrative" - that drives and shapes experience whether as a piece of writing, an audio guide, or an exhibition. In this final seminar together we will briefly review and reflect on key skills and concepts developed throughout the unit to take stock of everything that we have learned; honing and refining our writing skills does not end with this course. If anything, you might see this as a beginning. This seminar serves as nutshell, offering you (1) some final practical advice for the 'real world' industry and how to get your writing out there, (2) note-taking skills to add to your researching process and acquiring knowledge (have you been taking good notes?) and (3) lastly some useful suggestions on how to write "shapely thoughts", paragraphs that are meaningful (are you reporting or analysing)?听听

听

Learning outcomes

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

Outcomes
Graduate qualities

At the completion of this unit, you should be able to:

LO1. obtain a critical understanding and knowledge of exhibition and collection in Australian institutions
LO2. develop a critical awareness of the place and uses of art writing in art galleries and museums
LO3. develop communication skills with the ability to present a sustained and properly supported argument in both oral and written form
LO4. obtain skills in visual analysis, with a particular focus on the ability to critically reflect on the relation between text and image
LO5. develop an awareness of cultural and social difference with the the ability to critically assess the relation between art and society.

Graduate qualities

The graduate qualities are the qualities and skills that all 爆料王 graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1	Depth of disciplinary expertise Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.
GQ2	Critical thinking and problem solving Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.
GQ3	Oral and written communication Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.
GQ4	Information and digital literacy Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.
GQ5	Inventiveness Generating novel ideas and solutions.
GQ6	Cultural competence Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.
GQ7	Interdisciplinary effectiveness Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.
GQ8	Integrated professional, ethical, and personal identity An integrated professional, ethical and personal identity is understanding the interaction between one鈥檚 personal and professional selves in an ethical context.
GQ9	Influence Engaging others in a process, idea or vision.

Outcome map

Learning outcomes	Graduate qualities
Learning outcomes

Responding to student feedback

This section outlines changes made to this unit following staff and student reviews.

This unit is co-developed with communication specialist Dr Jennifer Blunden. It has been re-designed from an intensive format to give students time in-class/in-person to complete writing activities and develop key skills as required by the sector.

Disclaimer

Important: the 爆料王 regularly reviews units of study and reserves the right to change the units of study available annually. To stay up to date on available study options, including unit of study details and availability, refer to the relevant handbook.

To help you understand common terms that we use at the University, we offer an .

爆料王

Current students

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Use of generative artificial intelligence (AI)

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Support for students

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Disclaimer

On this page

Useful links

爆料王

ARHT5902: Writing for the Art and Museum Sector

Semester 2, 2026 [Normal day] - Camperdown/Darlington, Sydney

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Use of generative artificial intelligence (AI)

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Support for students

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Disclaimer

On this page

Useful links