Exhibition-making is meaning-making, whether one is working as a curator, a collections manager or as an artist. It is as exciting and complex an intellectual endeavour as is writing a book — and logistically far more complex. It requires a high degree of research skill, technical knowledge, conceptualisation and visualisation expertise, communications flair, financial dexterity, stamina, and a love of material culture, of collaborative work, and of the audience. I have curated innovative exhibitions for both museums and galleries in the fields of science, technology, medicine, design and the fine arts, as well as having created large-scale collaborative site specific projects and showing as an artist internationally.

Exhibitions

Exhibition Histories in Science and Technology

Exhibition histories matter to historians of science because from the mid-1800s onwards, exhibitions have been created, produced, and experienced in almost all the sites of significance to science, technology, and medicine. This includes spaces such as clinics and labs
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Senior Research Associate, Assembling Alternative Futures for Heritage

Senior Research Associate, Assembling Alternative Futures for Heritage (2015-2016) AAFH — or ‘Heritage Futures’ — is a flagship four-year research project funded by the UK Arts and Humanities Research Council in the ‘Care for the Future’ strategic programme.
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Split + Splice

Split + Splice: Fragments from the Age of Biomedicine, Exhibition Creative Director, Medical Museion, University of Copenhagen (2008 to 2009)   Creation and production of this Dibner Award winning show about contemporary biomedicine; leading a team of four
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Thinking Through Objects

Thinking Through Objects, presentation at The Exhibition as a Product and Generator of Knowledge, Deutsches Museum, Munich (2008)   This conference explored the contribution exhibitions make to research culture and research methodology, particularly in relation to history of
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You are Here: The Design of Information

You Are Here: The Design of Information, Curatorial Advisor, Design Museum, London (2005)   Curatorial Advisor to Lead Curator James Peto concerning overall exhibition structure and science content on this important exhibition looking at information design and graphics;
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Atomism & Animism

Atomism & Animism, Science Museum, London (1997 to 1999) This museum-wide collection interpretation project was the fruit of my two-year research residency at the Science Museum. The exhibition was created with some 130 objects, disposed in 16 installations
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Studiolo

Studiolo: The Collaborative Work of Martha Fleming and Lyne Lapointe, a major retrospective exhibition and accompanying book (Musée d’art contemporain de Montréal, Artextes Editions and Art Gallery of Windsor, 1997-1998)   Covering all of our large scale site-specific
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Open Book

Open Book: Dulwich Picture Gallery and the Science Museum (1996)   This object exchange between an art museum and a science museum was a meditation on the communicating vases of matter and spirit. I brought together Joshua Reynolds’
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Introduction & Index

Introduction & Index, silkscreened translucent banners and artists’ bookwork (1994): Printed Matter (New York); Artexte@MACM (Montreal); Bath Public Library (UK); Ridington Room, University of British Columbia (Vancouver), C Magazine (Toronto)   A meditation on censorship and the power
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Martha Fleming

Martha Fleming has been working in the interdisciplinary nexus between the sciences, the humanities and the fine arts for several decades. She has forged innovative and productive methodological alignments across disciplines as a museum professional, academic and artist. Able to integrate practice and theory in meticulous and rigorous ways, her fields of interest span visual culture, book arts, history of science, public art, biomedicine, astrophysics, design and more. This site features highlights from some of her projects, large and small, and shows how they are related.


site by U2R

© Martha Fleming : arts | sciences | humanities : interdisciplines