Course Leader MA Curating & Collections Research Fellow for TrAIN Research Centre
Chelsea College of Arts
Chelsea College of Arts
David Dibosa trained as a curator after receiving his first degree from Girton College, University of Cambridge. He was awarded his PhD in Art History from Goldsmiths College, University of London. During the 1990s, he curated public art projects. He is currently Course Leader for MA Curating and Collections at Chelsea College of Arts. He is also a Researcher in University of the Arts London's Research Centre for Transnational Art, Identity and Nation (TrAIN).
Spectatorship, exhibitions, museums and curating, migration cultures.
Dr. David Dibosa’s research interests centre on exhibitionary practice, collections and museums. Since being awarded his PhD from Goldsmiths for a thesis on art, shame and commemoration, David’s work has addressed the ways in which exhibitions act as focal points for social practices. The exhibition as a site of mourning and commemoration remained at the heart of David’s early work with essays such as, 'Exhibitions of Mourning' (2003) published in German translation in the book Visual Culture: Body, Space, Media (Boehlau, 2003).
Latterly, David’s work has addressed the ways in which museum exhibitions and displays set the ground for the staging of national identity. The co-authored essay, ‘Cultural diversity: politics, policy and practices’ published in Museums, Equality and Social Justice (Routledge, 2012) addressed questions of national identity and culture. The most recent work, the co-authored book, Post-Critical Museology (Routledge, 2013) has looked at Tate Britain’s role in the formation of contemporary British culture.
Future projects will continue to address the function of exhibitions, collections and display.
Maria Theodoraki, Institutional display: the effect of protective physical barriers on an artwork’s conceptual body.
Jin Ah Lee, Mapmaking through Drawing Practice: How Drawing can Help us to Observe Territorial Borders.
Daisy McMullan, To what extent can modalities of curatorial practice specific to contemporary textiles be put forward? What implications would such modalities present for future practice?
Robert Gadie, UK Practice-Based Art PhDs, and their need for a Grounded and Persuasive Epistemology (Theory of Knowledge).
Kimathi Donkor,Africana Unmasked: Fugitive Signs of Africa in Tate's collection of British Art.
Dibosa, David and Walsh, Victoria and Dewdney, Andrew (2012) Post-critical museology: theory and practice in the art museum. Routledge, London, UK. ISBN 978-0-415-60601-1, 978-0-415-60600-4
Dibosa, David and Dewdney, Andrew and Walsh, Victoria (2012) Cultural diversity: politics, policy and practices. The case of Tate Encounters. In: Museums, Equality and Social Justice. Museum Meanings . Routledge, Abingdon, Oxon; New York, pp. 114-124. ISBN 9780415504683
Dibosa, David and Dewdney, Andrew and Walsh, Victoria (2010) Cultural inequality, multicultural nationalism and global diversity: Tate encounters: Britishness and visual culture. In: Beyond Cultural Diversity: The Case for Creativity. A Third Text Report . Routledge on behalf of Black Umbrella, London, UK, pp. 81-91. ISBN 978-0-947753-11-5
Dibosa, David (2009) Queer Appearances: Gilbert & George's Visual Strategies: The use of studios: Television, art practice and the visual strategies of Gilbert & George. Sexualities, 12 (2). pp. 251-262. ISSN 1363-4607
Dibosa, David (2008) Besides Looking: Patrimony, Perfomativity and Visual Cultures. Tate Research [E]ditions. ISSN 1757-0530
Dibosa, David (2004) Fatal Distraction: art-writing and looking at art, an investigation into the relationship between art-writing and spectatorship. In: Put About: A Critical Anthology on Independent Publishing. Book Works, London, pp. 42-48. ISBN 1-870699-70-X
Dibosa, David (2003) Exhibitions of Mourning: published text addressing the relationship between spectatorship and mourning. In: Visuelle Kulture: Korper, Raume, Medien. Bohlau Verland, Vienna, pp. 125-137. ISBN 3-205-77040-4