Dr David Dibosa

Profile image of Course Leader MA Curating & Collections Research Fellow for TrAIN Research Centre

Course Leader MA Curating & Collections Research Fellow for TrAIN Research Centre

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).

Research interests

Spectatorship, exhibitions, museums and curating, migration cultures.

Research statement

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.


Current students & thesis titles

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).

Completed students & thesis titles

Kimathi Donkor,Africana Unmasked: Fugitive Signs of Africa in Tate's collection of British Art.

Selected research outputs