Job and Internship Postings:
For our New York client, an internationally significant private collection
of Old Masters, we are seeking a registrar. The successful candidate will
oversee all registrarial duties, including condition reports, international
shipping and customs, on and off-site storage, conservation and insurance
estimates, installation and related issues. The ideal applicant will have
at least three years registrarial experience with an art gallery, museum,
auction house or private collection and a BA in Art History or related
field. Familiarity with pre-18th century painting is strongly preferred.
Discretion, excellent organizational skills and the ability to work in an
intimate environment are essential. Salary of 50K with excellent benefits.
A rare chance to work with a museum quality private collection. Please send
resume, detailed cover letter and contact information for at least three
references to recruiters@artstaffing.com
Thomas & Associates, Inc.
6 East 39th Street, Suite 1200
New York, NY 10016
212-779-7059 (tel)
212-779-7096 (fax)
(5-12-08)
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For our world-renowned Upper East Side contemporary art gallery client, we
are seeking a Gallery Assistant. The successful applicant will work with a
small team of other assistants to help manage and support all activities at
the gallery including client and artist relations; internal scheduling and
project support; events and openings; databases; research and related
activities; other duties as required. The ideal candidate will have at
least 3 years experience in gallery or auction house and excellent
organizational, communications and research skills. Advanced Photoshop and
BA in art history required. French and some familiarity with contemporary
art strongly preferred. Salary 40K + DOE and excellent benefits. Please
send resume, detailed cover letter and contact information for three
references to recruiters@artstaffing.com
Thomas & Associates, Inc.
6 East 39th Street, Suite 1200
New York, NY 10016
212-779-7059 (tel)
212-779-7096 (fax)
www.artstaffing.com
(5-12-08)
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Williams College Museum of Art (WCMA)
One of the finest college art museums in the country, the Williams College Museum of Art (WCMA) houses 13,000 works that span the history of art. WCMA's holdings in modern and contemporary art constitute the most significant 20th-century collection in the area. Modern art from 1900-1945 is represented by almost 1000 works.
WCMA is seeking a full-time year round Curator to coordinate exhibition and artist projects of modern and contemporary art. Candidates should be accomplished scholars with a demonstrated excellence in collections development, exhibitions, and publications. Communication skills in both writing and public speaking and the ability to work with a broad range of artists, museum visitors, collectors, college staff and faculty are also a must. Responsibilities include but are not limited to collection planning and care, acquisitions, installation and exhibition development, supervision of interns.
Candidates should posses a minimum of three to five years experience in a museum or other art venue or combination of education and experience. A master’s degree in Art or Art History is required, PhD is a plus. Art handling experience in a museum is preferred. Review of resumes will begin immediately and continue until the position is filled. Job #300459*-W*
Please send a cover letter and resume including Job # to:
The Office of Human Resources, Williams College
100 Spring Street Suite 201, Williamstown, MA 01267
Phone: (413) 597-3129, e-mail: hr@williams.edu
(4-28-08)
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Curatorial Assistant
The Institute of Contemporary Art at the University of Pennsylvania seeks a curatorial assistant to help with the coordination and organization of museum exhibitions.
Duties include, but are not limited to:
- Assisting with coordination & organization of exhibitions and catalogs including labels and rights and reproductions
- Overseeing installation photography
- Overseeing ICA’s visual archives
- Organizing monthly curatorial review sessions
- Responding to research requests and submissions
- Maintaining mailing lists and facilitating timely communications
- Other projects as needed
* As part of the curatorial department, there is an opportunity for the curatorial assistant to organize his/her own exhibitions or projects.
Qualifications:
- High School Diploma or GED
- BA in Art History or comparable degree strongly preferred
- 3-5 years experience (or equivalent combination of education and experience)
- Experience working in the contemporary arts within a museum
- Excellent communication, writing, and interpretation skills
- Exceptional organizational skills
- Detail-oriented
- Ability to prioritize assignments and meet deadlines
- Experience compiling artist biographies, research materials, and publications a plus.
- Knowledge of Filemaker Pro, Photoshop, PowerPoint and Excel a plus
- Ability to work evenings/weekends may be required.
Please submit resumes online at the University of Pennsylvania’s Human Resources website at:
http://jobs.hr.upenn.edu/applicants/Central?quickFind=187541
Alternately you may search by reference number 080324264
at https://jobs.hr.upenn.edu/.
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The University of Virginia is pleased to announce its new summer
graduate program in southern material culture studies in partnership
with MESDA (Museum of Early Southern Decorative Arts, Winston-Salem,
NC). The month-long residential course (July 6-Aug. 1) will be taught by
Louis P. Nelson, Associate Professor, Architectural History and Maurie
D. McInnis, Director of American Studies and Associate Professor, Art
History. The curriculum includes extensive work with MESDA's collection
and research center and a study trip to Charleston, South Carolina and
the Lowcountry. The program is geared to graduate students in diverse
programs from history, museum studies, architectural history, and art
history and grants 3-hours of credit through the UVa Graduate Program in
the History of Art and Architecture.
For more information please contact:
Sally Gant
MESDA Summer Institute
sgant@oldsalem.org
(3-17-08)
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The Dallas Museum of Art, through the help of the Eugene McDermott Education Fund, will offer ten paid internship positions – four in the Museum’s Education Department, and six in its Curatorial Department. All positions will begin on September 2, 2008. These internships are intended for those individuals who wish to explore the possibilities of a career in museum work.
The Dallas Museum of Art's encyclopedic collection encompasses more than 20,000 works of art that span 5,000 years of history and represent all media with renowned strengths in the arts of the ancient Americas, Africa, Indonesia and South Asia; European and American painting, sculpture, and decorative arts; and American and international contemporary art. It is the only general art museum in North Texas. The Dallas Museum of Art is the anchor of the Dallas Arts District and serves as a cultural magnet for the city with diverse programming ranging from exhibitions and lectures to concerts, literary readings, dramatic and dance presentations, and a full spectrum of programs designed to engage people of all ages with the power and excitement of art.
For more information, you may also click here
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CURATORIAL ASSISTANT
Department:American Art
Division:Curatorial
Reports to: Curator-in-Charge, American Art
Working Relationships:Works closely with the Curator-in-Charge, American Art; Curator / Director of Contemporary Art Projects; the Associate Director of Museums; staff in the departments of Conservation,Exhibitions, Registration, and Technical Production; staff; lenders, collectors, and researchers.
Under the supervision of the Curator-in-Charge, American Art, provides support to the curatorial staff in the day-to-day operation of the American Art Department. S/he assists in administrative tasks generated by the collection, its oversight, installation, conservation,photography, publication, etc.; writing labels and other interpretive materials; interfacing with the general public; and, depending on experience, participation in temporary exhibition planning, research, and mplementation.
Typical Duties and Responsibilities:
1.Participates in the day-to-day administrative operations of the department, including in-house actions required for the permanent collection's maintenance and exhibition; correspondence pertaining to in-coming and out-going loans; inquiries from other institutions, the press, and public, following institutional and departmental
protocol and procedures.
2.Assists with correspondence with scholars and facilitates research visits of colleagues from the broader museum/academic community. Assists with permanent collection and loan exhibition tours for visitors.
3.Works with the Registration Department to ensure proper documentation of the collection, including acquisitions, deaccessioning,research and logistics.
4.Assists with maintenance of the American Art Department object files.
5.Assists with monitoring activities on the art market, the auction houses, and private dealers.
6.Participates in the preparation of exhibition research, loans and related educational materials.
7.Generates and tracks work / technician / conservation / photo requests and purchase orders required to engage the assistance of otherMuseum departments.
8.Performs other duties as assigned, including writing labels and short pieces for in-house publication, preparation of digital presentations, and directed research projects.
Minimum Qualifications:
Education and Training:
*Bachelor of Arts degree from an accredited college or university is required, AND *One year's experience with emphasis on American art
Experience:
*Two years' prior curatorial / museum experience,
*Familiarity with standard museum operations and practices is
essential;
*Strong arts / aesthetic background and interests
Desired Skills and Abilities:
*Good general knowledge of American art, history, and culture
*Responsive to supervision and flexible in meeting shifting priorities
*Exceptional written and oral communication skills
*Exceptional interpersonal skills and ability to work effectively with others
*Exceptional organizational skills and ability to meet deadlines
*Familiarity with both traditional and contemporary methods of art history research
*Ability to conduct directed and independent research
*Ability to multi task in a fast paced work environment with strong follow through
*Exceptional energy, initiative and productivity
*Ability of achieve and sustain best curatorial practices
*Strong communication and computer skills, strong customer service orientation
Salary: Commensurate with ability and skills. Salary code: Merit
Send Letter of Application Outlining Qualifications, Resume or C.V., and a Writing Sample (include your mailing address) via email to: jmargala@famsf.org (Jerome Margala, Human Resources) Corporation of the Fine Arts Museums
(2-15-08)
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Florence Griswold Museum
Old Lyme, Connecticut
The Florence Griswold Museum invites applications for the Catherine Fehrer Curatorial Fellowship, named in honor of a former trustee and scholar who was keenly interested in supporting scholarship in the fields of American art and culture. Initiated in 2008, the Fehrer Curatorial Fellowship is designed to enable a scholar or graduate of a Master's or Ph.D. program in American art history to prepare for a curatorial career while contributing to the advancement of the Museum's curatorial objectives. During this twelve-month post-graduate fellowship from July 1, 2008 to June 30, 2009, the fellow will work as a full-time curatorial assistant by performing research and other work on exhibition projects that have been approved by the Museum. Additional research may focus on objects and paintings in the permanent collection. The experience gained during this fellowship should serve as a strong foundation for a professional career in the museum field.
In addition to an annual stipend of $30,000, the Fehrer Fellow will be provided with housing in an historic, early-18th century gambrel-roofed house in the neighboring town of Lyme, Connecticut. Purchased by the Fehrer family in 1920, it served as a summer residence for Catherine, her sister Elizabeth, and their father Oscar Fehrer, an American artist who was associated with the Lyme Art Colony. Located on five acres of property, the house, while modernized for current living needs, is furnished largely as Miss Fehrer left it. The successful applicant will need to be someone who will relish living in an artistic household steeped in history.
Applicants will be evaluated based on their scholarly qualifications, experience, and compatibility with the Museum's collections and exhibitions. Excellent research, writing, interpersonal, and organizational skills required. Applications (resume and cover letter) should be sent to: Amy Kurtz Lansing, Curator, Florence Griswold Museum, 96 Lyme Street, Old Lyme, CT 06371
The Florence Griswold Museum is an AAM-accredited museum that promotes the understanding of Connecticut's contribution to American art through its collections, exhibitions, and programs. Led by an active board of trustees and professional staff, the Museum has undergone transformative growth over the past ten years with the addition of new facilities and the recent restoration of the 1817 Florence Griswold House as the former boardinghouse of the Lyme Art Colony. Linked by a modern gallery, historic house, gardens and riverfront setting, the Museum encompasses art, history, and nature in a New England village setting. www.florencegriswoldmuseum.org
(2-8-08)
Articles are sought for Aurora, Vol. IX (2008) dealing with any methodology on any aspect of the history of art. For submission instructions and information on our journal, please visit our website at http://www.aurorajournal.org. The deadline for submissions is May 15th.
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The 43rd Annual UCLA Art History Graduate Student Symposium
Friday, October 24, 2008
Hammer Museum, Los Angeles, CA
Keynote Speaker: Dr. John Pohl, Curator of the Arts of the Americas, UCLA Fowler Museum
Postmark and/or email deadline for submitting abstracts is Thursday, May 15, 2008.
Graduate students in any discipline are invited to submit abstracts for "Reading the Remnant," the Forty-Third Annual UCLA Art History Graduate Student Symposium. To be held on October 24 2008, the symposium will provide a forum for emerging scholars to discuss the remnant as a charged cultural site and to share their research on any aspect of the visual arts relevant to this year's theme. The venue is the Hammer Museum, a center for art and culture in the heart of West Los Angeles.
The keynote speaker is Dr. John Pohl. Dr. Pohl received both his M.A. and Ph.D. degrees in Archaeology at UCLA and his B.A. degree from Hampshire College. His primary research concerns Post-Classic Aztec, Nahua, Mixtec and Zapotec confederacies of southern Mexico. He is the first Curator of the Arts of the Americas at UCLA's Fowler Museum.
This year's Symposium will focus on the role of the remnant as a subject of discourse in art history. What is a remnant and what are the cultural, historical, social, or ethical implications of considering that which remains? It might be said that the field of art history can be conceived of as a discourse of the remnant, deeply concerned with innervating the remains of the past to bring them into conversation with the present. Papers may consider the remnant in any form– painting, sculpture architecture– and conceptually in any relation to artistic creation—production, exchange, content, etc. For instance, papers may consider the remnant as a residue, a piece or part that remains after a process of removal or decay. Papers may also address the remnant's specific condition of posteriority, a partial form with a referential function. One might also consider how writers and critics have attempted to theorize the remnant's distinctive concern with time, its connection to site or place, and its affect of persistence or survival. Examples from all periods and regions are encouraged.
Other questions to consider may include: What is the remnant's role in issues of authenticity and tradition? What is its relationship to concerns over originality, authorship, or connoisseurship? How, and in what context, does the remnant function as sacred or as an object of worship? What is its role with regard to the relic, to ritual or performance? What is the remnant's relation to the ruin? To decay, entropy, destruction or evidence of those processes? How have artists employed the remnant to alter or challenge positions of power, for example in colonial situations? Does the remnant have a privileged or necessary relation to the construction of hybridity or diaspora? How can we conceive of the remnant as a site of confluence (multicultural, stylistic, or iconographic)? What is its relation to memory, haunting, or even death? What is the "psychology" of the remnant and what are the political and ethical stakes of considering it as a site of trauma, loss, mourning, or melancholy? How might we begin to conceive of the remnant as a site of creation, conservation or preservation and what are the technical and ethical implications therein? What methods allow for a consideration of the remnant (psychoanalysis, semiotics, iconography, etc.)? What are the implications of the commodification of the remnant, for example, the remnant as souvenir? Is the remnant necessarily an object? What are other possible forms? What would it mean to trace the cultural significance of the remnant over time and what relevance would this have to art history as a discipline?
Abstract submissions of 300 words or less and a current curriculum vitae must be received by Thursday, May 15, 2008 by 5pm to ahsympos@humnet.ucla.eduor by mail to:
AHGSA Symposium 2008
UCLA Department of Art History
100 Dodd Hall
P.O. Box 951417
Los Angeles, CA 90095-1417
Questions may be directed to ahsympos@humnet.ucla.edu.
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Contemporary Art and the Archive
The Smithsonian’s Archives of American Art and the Ph.D. Program in Art History at The Graduate Center of the City University of New York (CUNY) are sponsoring a one-day symposium on Contemporary Art and the Archive. The symposium will be held at CUNY on Saturday,
November 15, 2008.
In the field of contemporary art, the archive has become an increasingly important point of departure for practicing artists, critics, curators, and historians. The efflorescence of archives in the modern period has left a material record of cultural production to which artists have responded in a variety of modes, ranging from reverence to contempt. At the same time, new media and technologies have challenged conventional notions of the archive, leading curators to ask, among other questions: What does it mean to make an archive for an artist whose works were not tangible things but rather “happenings” or other transitory events? What are the technical challenges involved in creating an archive of video or electronic works when the long-term preservation of those media is completely untested? Finally, what is the place of “archival” research in the historical study of contemporary art?
We are seeking 20 minute papers from curators who are currently dealing with the archives of contemporary artists and from art historians whose work makes use of the archives of contemporary artists.
Please send a one-page abstract and C.V. to Liza Kirwin at kirwinL@si.edu by June 1, 2008
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NOW ACCEPTING SUBMISSIONS FOR
Artwords
The Online Graduate Journal for
Art History, Art Theory and Aesthetics
Entries should be:
-Of a scholarly nature
-Written in exoteric language
(i.e for a reasonably intelligent reader while avoiding obscure jargon)
-1,500-6,000 words in length
- Turabian format
-Submitted electronically as a Microsoft Word document
Inquiries and submissions should be directed to: j_kohlburn@hotmail.com
Subjects may pertain to Art History, Art Theory, Philosophy and/or Aesthetics.
Deadline for submissions: June 6, 2008
Papers should be between 5-15 pages in length and must conform to guidelines expressed Turabian format. To be eligible for consideration, submissions must be complete and must include all images, footnotes, and bibliographical information. Papers should be submitted electronically, as e-mail attachments to Joe Kohlburn, Editor-in-Chief at j_kohlburn@hotmail.com. Submitters will be notified by e-mail on or before the deadline for submissions: June 6, 2008, if their papers have been accepted. Accepted articles will be published online by September 17, 2008. Contributors will receive a print copy of the journal free of charge
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26th Annual
Art History Graduate Student Symposium
Florida State University
Keynote Speaker: Pamela Sheingorn, Professor of History, Medieval Studies, and Theatre at The Graduate Center, City University of New York
The Art History faculty and graduate students of Florida State University will host their Twenty-Sixth Annual Symposium for Graduate Students in the History of Art on October 17-18, 2008. Graduate students are invited to present twenty-minute papers which will then be submitted for publication in Athanor, a nationally distributed periodical sponsored by the Department of Art History and the College of Visual Arts, Theatre, and Dance.
Symposium papers may come from any area of the history of art, architecture, and photography. Students working toward an MA or PhD degree may participate.
Deadline for one- to two-page double-spaced abstracts is September 2, 2008.
Please supply complete contact information (including email address), an indication of the student’s graduate level, and the title of the proposed talk. Paper sessions will take place on Friday afternoon, October 17, and all day Saturday, October 18, with presentation of the selected papers followed by critical discussion.
Abstracts should be mailed or faxed to:
Prof. Karen A. Bearor
Graduate Symposium Coordinator
Department of Art History
220-D Fine Arts Building
Florida State University
Tallahassee, FL 32306-1151
Fax: (850) 644-3259 |
