Author Archives: Kirsty Robertson

About Kirsty Robertson

Kirsty Robertson is Associate Professor of contemporary art and Director of museum and curatorial studies at Western University, Canada.

Together We Average as Zero

Together We Average as Zero was an exhibition organized by students in the Museum and Curatorial Studies Practicum. The exhibition was meant to be a precursor to From Remote Stars: Buckminster Fuller, London, and Speculative Futures, the exhibition Sarah E.K.

Together We Average as Zero

Together We Average as Zero was an exhibition organized by students in the Museum and Curatorial Studies Practicum. The exhibition was meant to be a precursor to From Remote Stars: Buckminster Fuller, London, and Speculative Futures, the exhibition Sarah E.K.

Vernacular and Micro-Museums database – US and Canada

The beta version of micromuseums.site is up. There are some issues with loading on some servers that are still being worked on, but if it appears it should be fully functional. Explore the project here: https://micromuseums.site. Project Description In her

Vernacular and Micro-Museums database – US and Canada

The beta version of micromuseums.site is up. There are some issues with loading on some servers that are still being worked on, but if it appears it should be fully functional. Explore the project here: https://micromuseums.site. Project Description In her

From Remote Stars: Buckminster Fuller, London, Speculative Futures

This exhibition was scheduled to open at Museum London in May, 2021. Postponed due to the pandemic, it is now scheduled for 2022. Curated by Kirsty Robertson and Sarah E.K. Smith In 1968, futurist, systems theorist, and architect R. Buckminster

From Remote Stars: Buckminster Fuller, London, Speculative Futures

This exhibition was scheduled to open at Museum London in May, 2021. Postponed due to the pandemic, it is now scheduled for 2022. Curated by Kirsty Robertson and Sarah E.K. Smith In 1968, futurist, systems theorist, and architect R. Buckminster

A comprehensive investigation of industrial plastic pellets on beaches across the Laurentian Great Lakes and the factors governing their distribution

In 2018-19, the Synthetic Collective sampled from 66 beaches on the shores of the Laurentian Great Lakes. We collected 12,595 industrial plastic pellets from 66 10x1m sq quadrats. Also known as nurdles or “mermaids’ tears,” pellets are the feedstock of

A comprehensive investigation of industrial plastic pellets on beaches across the Laurentian Great Lakes and the factors governing their distribution

In 2018-19, the Synthetic Collective sampled from 66 beaches on the shores of the Laurentian Great Lakes. We collected 12,595 industrial plastic pellets from 66 10x1m sq quadrats. Also known as nurdles or “mermaids’ tears,” pellets are the feedstock of

Fast Fashion/Slow Art

“The Afterlife of Clothing.” Guest essay for the exhibition Fast Fashion/Slow Art. Bibiana Osler and Phyllis Rosenzweig, eds. Washington DC: Corcoran Gallery, 2019. As essay that I wrote on microfibers, synthetic textiles, and art was published in the catalogue for

Fast Fashion/Slow Art

“The Afterlife of Clothing.” Guest essay for the exhibition Fast Fashion/Slow Art. Bibiana Osler and Phyllis Rosenzweig, eds. Washington DC: Corcoran Gallery, 2019. As essay that I wrote on microfibers, synthetic textiles, and art was published in the catalogue for

Tear Gas Epiphanies

Winner of the 2019 Melva J. Dwyer Award (ARLIS) Tear Gas Epiphanies: Protest, Culture, Museums (McGill-Queens University Press, 2019) focuses on the tension and friction created at the intersection of protest, culture, and museums. This book analyses museums as key institutions

Tear Gas Epiphanies

Winner of the 2019 Melva J. Dwyer Award (ARLIS) Tear Gas Epiphanies: Protest, Culture, Museums (McGill-Queens University Press, 2019) focuses on the tension and friction created at the intersection of protest, culture, and museums. This book analyses museums as key institutions

Embracing an Interdisciplinary Approach to Plastics Pollution Awareness and Action

Led by Sara Belontz, the Synthetic Collective published their first co-written paper. It’s not open source yet, but will be soon (or, drop me a line and I’ll send you a copy). Sara Belontz, Patricia Corcoran, Heather Davis, Kathleen Hill,

Embracing an Interdisciplinary Approach to Plastics Pollution Awareness and Action

Led by Sara Belontz, the Synthetic Collective published their first co-written paper. It’s not open source yet, but will be soon (or, drop me a line and I’ll send you a copy). Sara Belontz, Patricia Corcoran, Heather Davis, Kathleen Hill,

No Small Matter: Micromuseums as Critical Institutions

with Helen Gregory. “No Small Matter? Micromuseums as Critical Institutions,” RACAR (special issue: Critical Curating) 43.2 (2018), pp. 89-101. Focusing on three micro-institutions located in Canada, each with specifically challenging and/or political mandates, this article examines the critical potential of

No Small Matter: Micromuseums as Critical Institutions

with Helen Gregory. “No Small Matter? Micromuseums as Critical Institutions,” RACAR (special issue: Critical Curating) 43.2 (2018), pp. 89-101. Focusing on three micro-institutions located in Canada, each with specifically challenging and/or political mandates, this article examines the critical potential of

The Museum of Future Fossils

The Museum of Future Fossils is an ongoing, large scale project, comprising pedagogy and course work, a speculative exhibition, workshops, and a catalogue for a non-existent exhibition. For more, please visit the MFFF site here. Image: still from Fatberg film,

The Museum of Future Fossils

The Museum of Future Fossils is an ongoing, large scale project, comprising pedagogy and course work, a speculative exhibition, workshops, and a catalogue for a non-existent exhibition. For more, please visit the MFFF site here. Image: still from Fatberg film,

95% Invisible: The Art of Storage

This year’s Museum and Curatorial Studies practicum exhibition considered practices of art storage, ranging from storing art in nuclear waste facilities, to hoarding, to Geneva Free Ports. For the first time, we made use of augmented reality in the exhibition

95% Invisible: The Art of Storage

This year’s Museum and Curatorial Studies practicum exhibition considered practices of art storage, ranging from storing art in nuclear waste facilities, to hoarding, to Geneva Free Ports. For the first time, we made use of augmented reality in the exhibition