Author: Camara Dia Holloway

I am the Project Manager for the Romare Bearden Digital Catalogue Raisonné at the Wildenstein Plattner Institute. I earned my PhD at Yale University in the History of Art Department and specialize in twentieth century American art with a particular focus on the history of photography, race and representation, and transatlantic modernist networks. I also serve as a Founding Co-Director of the Association for Critical Race Art History (ACRAH).

JOB: Art Histories of Black and Latinx Diasporas @ UToronto

The Department of Art History in the Faculty of Arts & Science at the University of Toronto invites applications for a full-time tenure stream position in the area of Art Histories of Black and Latinx Diasporas. The appointment will be at the rank of Assistant Professor, with an anticipated start date of July 1, 2022. 

Applicants must have earned a PhD degree in Art History or a related area by the time of appointment, or shortly thereafter, with a demonstrated record of excellence in research and teaching. The successful candidate will specialize in the historical analysis and interpretation of the art of Black and Latinx Diasporas, with a focus on the Americas. We seek candidates whose research and teaching interests complement and enhance our existing departmental strengths, particularly with regard to decolonizing perspectives in diverse regional and global contexts. The successful candidate will be expected to pursue innovative and independent research at the highest international level and to establish an externally funded research program. An ability to connect with other relevant programs within the university, such as Caribbean Studies, African Studies, and the Centre for Diaspora & Transnational Studies, as well as with local art institutions such as the Art Gallery of Ontario and Ryerson Image Centre, would be considered an asset.

Candidates must provide evidence of research excellence which can be demonstrated by a record of publications in top-ranked and field-relevant journals or forthcoming publications meeting high international standards, the submitted research statement, presentations at significant conferences, awards and accolades, and strong endorsements from referees of high standing. 

Evidence of excellence in teaching should be provided through teaching accomplishments, the teaching dossier (with required materials outlined below) submitted as part of the application, as well as strong letters of reference.

Salary will be commensurate with qualifications and experience.

This position will be held at the University of Toronto, St. George campus in downtown Toronto. The University of Toronto offers the opportunity to teach, conduct research, and live in one of the most diverse cities in the world. The Department of Art History is an internationally renowned department dedicated to the study of history, theory, and methodology of art in a global context. For more information about the University of Toronto, and the Department of Art History, please visit www.utoronto.ca and https://arthistory.utoronto.ca. 

All qualified candidates are invited to apply online by clicking the link below. Applicants must submit a cover letter; a current curriculum vitae; a research statement outlining current and future research interests (maximum four pages); a recent writing sample; and a teaching dossier to include a statement of teaching philosophy, sample course materials, and teaching evaluations. Furthermore, candidates are expected to show evidence of a commitment to equity, diversity, inclusion, and the promotion of a respectful and collegial learning and working environment demonstrated through the application materials. We seek candidates who value diversity and whose research, teaching, and service bear out our commitment to equity. Candidates are therefore also asked to submit a 1-2 page statement of contributions to equity and diversity, which might cover topics such as (but not limited to): research or teaching that incorporate a focus on underrepresented communities, the development of inclusive pedagogies, or the mentoring of students from underrepresented groups. 

Applicants must provide the names and contact information of three references. The University of Toronto’s recruiting tool will automatically solicit and collect letters of reference from each after an application is submitted (this happens overnight). Applicants, however, remain responsible for ensuring that references submit letters (on letterhead, dated and signed) by the closing date. 

Submission guidelines can be found at http://uoft.me/how-to-apply . Your CV and cover letter should be uploaded into the dedicated fields. We recommend combining attached documents into one or two files in PDF/MS Word format. If you have any questions about this position, please contact the Chair of Art History at art.chair@utoronto.ca. 

All application materials, including reference letters, must be received by the closing date, November 1st, 2021. 

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.

Diversity Statement
The University of Toronto is strongly committed to diversity within its community and especially welcomes applications from racialized persons / persons of colour, women, Indigenous / Aboriginal People of North America, persons with disabilities, LGBTQ2S+ persons, and others who may contribute to the further diversification of ideas.

As part of your application, you will be asked to complete a brief Diversity Survey. This survey is voluntary. Any information directly related to you is confidential and cannot be accessed by search committees or human resources staff. Results will be aggregated for institutional planning purposes. For more information, please see http://uoft.me/UP.

Accessibility Statement
The University strives to be an equitable and inclusive community, and proactively seeks to increase diversity among its community members. Our values regarding equity and diversity are linked with our unwavering commitment to excellence in the pursuit of our academic mission.

The University is committed to the principles of the Accessibility for Ontarians with Disabilities Act (AODA). As such, we strive to make our recruitment, assessment and selection processes as accessible as possible and provide accommodations as required for applicants with disabilities.


If you require any accommodations at any point during the application and hiring process, please contact uoft.careers@utoronto.ca.

JOB: Asst Prof, Asian Art @ DePaul University

The Department of History of Art and Architecture at DePaul University invites applications for a tenure-track position at the Assistant Professor level in Asian Art History to begin Autumn Quarter 2022.  All periods, media, and geographies within Asia will be considered, including less well-studied areas of inquiry.

DePaul University operates on a quarterly schedule with a 2-2-2 teaching load.  The candidate will be expected to teach an introductory Asian art course as well as a course on Buddhist art.  The candidate will also be expected to develop other courses that will expand the department’s offerings in the religious dimension of DePaul’s general education curriculum, in consultation with the departments of Religious Studies, Global Asian Studies, Chinese Studies, and/or Japanese Studies, with whom such courses will be appropriately cross listed.  The candidate will be housed in History of Art and Architecture, including with respect to teaching, service, and tenure and promotion.  The candidate will be expected to maintain an active research agenda and contribute to the service needs of the department and university.

The Department of History of Art and Architecture is an undergraduate global art history program currently comprised of 7 full-time faculty members with specialists in African, Islamic, Byzantine, Medieval European, Latin American, American, and Feminist art.  In addition to the major and minor in History of Art and Architecture, the department participates in an Architecture & Urbanism minor jointly with the Geography Department, and in a Museum Studies minor with the departments of History and Anthropology. 

Review of application materials will begin on 1 October 2021 and will continue until the position is filled.  We actively seek to enhance the diversity of our department and are committed to promoting an inclusive environment.  Persons of all genders, abilities, and racial, ethnic, and cultural backgrounds are encouraged to apply.

https://academics.depaul.edu/faculty-jobs/Pages/full-time.aspx?dpusearchbystr=76973

JOB: Asst Prof, Arts of Africa & African Diaspora @ UCLA

The Department of Art History, University of California, Los Angeles, invites applications for a tenure-track assistant professor specializing in the arts of Africa and the African Diaspora, to start July 1, 2022. We seek a scholar whose work emphasizes methodological innovation as well as connections between multiple geographies, and who is interested in cross-field collaboration within the department and the university. Ph.D. required. We especially welcome candidates whose experience in teaching, research, or community service has prepared them to contribute to our commitment to diversity and excellence.

Please submit letter of interest, curriculum vitae, sample publication, statement on contributions to diversity, equity, and inclusion, and names and contact information for three referees online at https://recruit.apo.ucla.edu/JPF06807. 

For more information, contact Prof. Miwon Kwon, Chair, Search Committee. Application deadline: November 1.

CFP: New Scholars @ American Society for Eighteenth-Century Studies conference

ASECS 2022
52nd Annual Meeting
Hilton Baltimore Inner Harbor
March 31–April 2, 2022
Annual Meeting Website: https://www.asecs2022.org/

Anne Schroder New Scholars Session [Historians of Eighteenth-Century Art and Architecture]
Dipti Khera (New York University), dipti.khera@nyu.edu; and Aaron Wile (National Gallery of Art), A-Wile@nga.gov
This is an open session for advanced graduate students and early career scholars in the art and architectural history of the long eighteenth century around the globe. We especially encourage submissions from underrepresented scholars; those who work in universities, museums, and para-academic institutions outside of North America and/or in adjunct employment positions; and those who define their stakes, topics, and temporal frames for the eighteenth century through visual/material/spatial analyses in relation to histories of enslavement, colonization, and the racialization and discrimination of bodies, knowledge, places, and objects.
Proposals should be sent directly to the session chairs no later than 17 September 2021.

CFP: Black Collage @ CAA2022

caa.confex.com/caa/2022/webprogrampreliminary/Session9195.html
caa.confex.com/caa/2022/webprogrampreliminary/meeting.html

Black Collage
Session will present: Virtual

Julie L. McGee, University of Delaware
Email Address(s):mcgee@udel.edu

Black Collage, before and beyond Romare Bearden, respects the multivalent nature inherent to Black and Collage. How have and do artists and scholars participate in the un-doing of modernist tropes associated with a history of collage that displaced Black subjectivity and agency? Black collage may adhere to a practice of coller, in reference to the French verb which means to paste or glue, but in ways that don’t inherently bind this practice to European Modernism, Pablo Picasso or Georges Braque. Suppose coller hews more to adhesive than metaphor–that Black collage transcends pieces for compositional uniqueness, a symphony’s manuscript. Black American artists used collage before Bearden, yet there is no denying the centrality of his work to this conversation. Indeed, Bearden’s significance calls us to think deeply about the extended practice and importance of collage and Black artists. Among the many who have are Ralph Ellison, Kobena Mercer, Patricia Hills, James Smalls, Jacqueline Francis, Ruth Fine, and Brent Hayes Edwards. In early 1961, while living in Stockholm, Sam Middleton completed a treatise on collage that placed his own work in a direct line of inheritance from Picasso and Cubism to Surrealism and Dada—for its radical aesthetic refusals and nowness. Appropriating Shahn, Middleton wrote, “Art always has its ingredients of impudence, its rejection of established order so that it may substitute its own fresh and contemporary authority and its own enlightenment.” This session invites contributions related to Black collage, audacity and enlightenment. Considerations of history, theory, conservation, and artistic practice are welcome.

CFP: Nineteenth-Century Studies Association Conference

RADICALISM & REFORM
The 43rd Annual Conference
Nineteenth-Century Studies Association
Rochester, New York
March 16-19, 2022
Proposal Deadline: September 30, 2021

Conference Website: ncsaweb.net/conferences/2022-ncsa-conference-information/

Join NCSA’s mailing list: mailchi.mp/4b3379af336e/ncsamailinglist

Inspired by the history of radicalism and reform in Rochester, New York, the NCSA committee invites proposals exploring the radical possibilities of the nineteenth-century world. From the aftershocks of the French and American revolutions to mutinies and rebellion in colonies across the globe, the nineteenth century was a period of both unrest and possibility. Abolition, suffrage, and reform movements reshaped prisons, education, and housing, marking this century as a period of institutional making and unmaking: a reckoning with ills of the past that was also profoundly optimistic about a more just and prosperous future.

Radicalism is also a generative term for considering transitional moments or social tensions: “radical” is often used interchangeably with “extreme,” but its earliest definitions describe not what is new or unusual, but what is foundational or essential. “Radical” is used to describe literal and figurative roots: the roots of plants, roots of musical chords, and the roots of words. To be radical is to embody tensions between origins and possibilities: to be anchored in what is foundational while also holding the potential for paradigm-shifting change. We welcome papers that consider these tensions in nineteenth-century culture, as well as those that consider possibilities for reforming nineteenth-century studies or academic life. Topics on nineteenth-century literature, history, art, music, or other cultural forms might include political movements or divisions, activism, resistance, labor, collective and direct action, or mutinies and rebellion. We also encourage broader interpretations of the conference theme: outsiders and outcasts, visionaries, agents of change, utopias, breakthroughs, failed reforms, conformity, or stagnation.

Topics on the state of nineteenth-century studies might include politically engaged teaching and scholarship, academic labor practices, harassment or prejudice in the academy, or new approaches to humanities education.

For more information, visit: ncsaweb.net/conferences/2022-ncsa-conference-information/

JOB: Director of Temple Contemporary

Director of Temple Contemporary

Tyler School of Art and Architecture, Temple University

Position Overview

The Tyler School of Art and Architecture invites applicants for the position of Director of Temple Contemporary, the school’s center for exhibitions and public programs. This position is an uncommon opportunity for an individual to bring progressive leadership to a contemporary gallery in a school of art and architecture with nationally ranked programs situated within a research university, Temple University.

We see this as a highly creative, hands-on position that requires an essential understanding of contemporary art and visual culture, and the collaborative and communication skills to work effectively across disciplines with constituencies within and beyond the school. We are looking for a leader who will build a distinctive intellectual vision for the gallery. The successful candidate will demonstrate initiative, creativity, be passionate about arts advocacy, be fluent in contemporary arts discourse, have experience in fundraising, and be able to work in collaborative and dynamic ways with a diverse group of faculty, students and staff and members of our surrounding community.

Curators, artists, scholars, and cultural producers and practitioners are invited to apply. We are especially interested in candidates who share a love for progressive ideas across the arts anddesign disciplines, who value working with the broad and diverse communities and who view art as knowledge and as an indispensable arm of free thought and direct social engagement.

The director is a T28 salaried, 12-month position reporting to the dean of the School. The director may also teach up to one class per year.

About the Tyler School of Art and Architecture

The Tyler School of Art and Architecture at Temple University is known for fostering a culture of diversity practices in our scholarship and pedagogy. Candidates for the position of director of Temple Contemporary are encouraged to address the ways in which they could contribute to Temple’s institutional mission and commitment to excellence and diversity and to Tyler’s engagement in interdisciplinarity, social responsibility, and community engagement. 

One of the Tyler School of Art and Architecture’s core strengths is the breadth of its academic programs. The school offers more than three dozen degree programs at the undergraduate and graduate levels, in studio art, design, art history, art education, art therapy, architecture, and built environment disciplines. In each program, students work in small learning communities, while also benefiting from state-of-the-art facilities, a rigorous curriculum, and a large, diverse campus community.

Tyler’s faculty members are widely recognized as among the most exciting practitioners in their fields. Tyler’s vast network of alumni—artists, designers, art historians, scholars, architects and urban planners—are rich resources for collaboration. Temple Contemporary plays a crucial role in the lives of students at the Tyler School of Art and Architecture by expanding their learning experiences. 

About Philadelphia

Located in Philadelphia, a hub of cultural and artistic activity and historical resonance, Tyler draws on the many opportunities and resources available throughout the city. Philadelphia has deep artistic traditions in the arts and crafts, including painting, printmaking, ceramics, architecture, and more. The city is home to a thriving contemporary art scene and myriad arts institutions, large and small, including the Philadelphia Museum of Art, the Barnes Collection, the African American Museum in Philadelphia, the Institute of Contemporary Art, the Fabric Workshop and Museum, the Clay Studio, Mural Arts Philadelphia, and Monument Lab. 

Philadelphia’s urban context includes many notable works of architecture and urban design. Transformational design began with William Penn’s city vision, incorporating green urban squares accessible to all citizens. The city’s accessible green infrastructure was expanded over time to include Fairmount Park, the largest urban park system in the United States, and the Reading Viaduct Rail Park. The dense urban fabric, built up over three centuries, includes innovative architectural works from William Strickland’s Merchant’s Exchange to Howe and Lescaze’s PSFS Building, and more recent works like Snøhetta’s Charles Library.

Main Responsibilities of the Position

The Director of Temple Contemporary is responsible for generating and organizing a yearly series of vital exhibitions, workshops, lectures, and other programs. The director will be expected to consider the educational needs and goals of the academic programs at the Tyler School of Art and Architecture as well as actively engage with students, faculty, artists, scholars, alumni, and the public.• Develop and maintain a dynamic vision for Temple Contemporary in collaboration with faculty, staff, students, and advisory committees.• Engage in productive partnerships and collaborative relationships that enrich the educational and cultural life of the school, university, arts community, and general community. • Create interdisciplinary activities that serve pedagogical, research and outreach interests of the students and faculty.• Work with faculty to develop responsive programs that are integrated with academic coursework at Tyler.• Manage, operate, and oversee 3,400 square foot gallery facility.• Lead the effort to generate contributed income from private, public, governmental, and internal university sources.• Develop and manage budgets for Temple Contemporary.• Supervise Temple Contemporary staff of two to three full-time members, graduate assistants, and work study students.• Maintain a dynamic media presence to promote Temple Contemporary in collaboration with Tyler’s communications staff.• Support MFA thesis exhibitions.• Coordinate Temple Contemporary’s Youth Advisory Council and general Advisory Council.

Qualifications
• MFA in Visual Arts, MA in Museum/Curatorial Studies, MA in Art History/Museum Management/Administration or equivalent• Experience in community engagement• Three to five years of experience in museum or gallery curating or programming• Record of successful fundraising• Outstanding written and verbal communication skills• Experience as a teacher in formal or informal environments• Hands-on experience with the practical processes of supporting exhibitions from proposal to de-installation• Demonstrated ability to produce exhibition publications, gallery text and promotional materials

How to apply


Submit application materials here.

Application should include a cover letter, curriculum vitae, documentation of 3-5 relevant previous projects, and contact information for three professional references. Please include two statements:

1) A programming statement that illustrates your views of an institution as a space of cultural exploration and social interaction, as well as your vision for how you would approach a university gallery’s presentation of contemporary art and visual culture within the contexts of the school, the university, and the larger community.

2) A statement outlining how you have contributed to diversity practices that foster equity and inclusion.

Web Series: Garden for Boston project

In late June, the MFA Boston will share the Garden for Boston project, two outdoor installations on the green spaces of the Museum’s main entrance by Roxbury-based artist Ekua Holmes and Aquinnah Wampanoag artist Elizabeth James-Perry. Holmes will plant 3000 sunflowers in raised beds in Radiant Community, related to Sunflower Project, her ongoing initiative to beautify the city and particularly Roxbury. In Raven Reshapes Boston, James-Perry will use Indigenous planting techniques to transform the grass around the Cyrus Dallin sculpture, which represents an invented Native man, into a field of corn and other plants surrounded by shells. We hope that their installations will be the first two of many to intervene in the Museum’s facade.

In anticipation of this exciting project, Marina Tyquiengco and Martina Tanga have organized a series of three Zoom culminating in a conversation between the artists on June 22. This series will recognize Boston as a place of Native and Black histories and lived experiences through the expertise of artists, scholars, and thought leaders. Below is a list of the titles, times, and speakers in each program and a link to sign up.

Before Boston: Black and Native Histories of Place

May 18 @ 5:30 pm

zoom.us/webinar/register/WN_uXsQ1r1ORHGse2enD1EIlA

With Elizabeth Solomon, Dr. Jean O’Brien, and Dr. Kerri Greenidge

Community Crossroads: Black and Native Experiences in Boston

June 1 @ 5pm

zoom.us/webinar/register/WN_FP5wI0sLS6m8HJYHAvlzRA

With Dr. Tiffany Lethabo King, Professor Mwalim Peters, and Mary McNeil

Planting Together: Conversation with Ekua Holmes and Elizabeth James Perry

June 22 @ 5-6pm

zoom.us/webinar/register/WN_5sNvMWAkTKufdQbOv92SMQ

Webinar: “The Lives of Monuments: Patriots of African Descent”

On June 19, 1993, the Monument to Patriots of African Descent was dedicated at Valley Forge National Historical Park. It is not only one of the newest Revolutionary War monuments in a National Park, but also the only site in the Northeast that honors African Americans’ contributions to the founding of our nation.
“The Lives of Monuments: Patriots of African Descent” is a virtual public event that brings together scholars, National Park Rangers, and members of the public to discuss Black representation in histories of the American Revolution and its monuments. Join us on Thursday May 20th from 6 to 7:30pm ET by following this link to register: us02web.zoom.us/webinar/register/WN_I4FFyH_BR2ur3vefrnmK1Q. Tune in ten minutes early to see a slideshow with photographs of the monument.
The event features Dr. Paulette Jones and Mrs. Deanna Shelton (Valley Forge Alumnae Chapter of Delta Sigma Theta, Inc.), Dr. Renée Ater (Public Scholar and Professor Emerita at the University of Maryland), and Ranger Steven Walter (Park Guide at Valley Forge NHP). They will discuss the process of commissioning the Monument to Patriots of African Descent, the history of sites that commemorate or exclude Black Americans from public culture, and the National Park Service’s role in foregrounding racially diverse histories of the American Revolution.
It is the third installment in the five-part webinar series “The Lives of Monuments: Memory, Revolution, and Our National Parks.” The series is organized by Dr. Emma Silverman, National Park Service Mellon Humanities Postdoctoral Fellow, and it is made possible by the National Park Foundation with funding from the Andrew W. Mellon Foundation. The May 20th event is also co-hosted by the Valley Forge Alumnae Chapter of Delta Sigma Theta Sorority, Inc.
Follow the links below to register for upcoming webinars:
June 17, 2021 from 6 to 7:30pm EST, “The Tomb of the Unknown Revolutionary War Soldier–Vandalism and the Legacy of the Founding Fathers” (Independence National Historical Park)
us02web.zoom.us/webinar/register/WN_uosA5wQUSFGG8CZML1-jFg
July 8, 2021 from 6 to 7:30pm EST, “The General von Steuben Statue—Interpreting the Revolution’s ‘Gay General’ and LGBTQ+ Histories in the Early Republic” (Valley Forge National Historical Park)
us02web.zoom.us/webinar/register/WN_qfz3kjnpSo2j7CYJJoRfUg
Recordings of all “Lives of Monuments” events will be available on the National Park Service YouTube channel soon.
Contact Emma_Silverman@partner.nps.gov with questions.

FEL: Luce Curatorial Fellowship @ Smithsonian American Art Museum

Application deadline: June 1, 2021

The Smithsonian American Art Museum (SAAM) seeks an outstanding emerging scholar of American art for a curatorial fellowship funded by the Henry Luce Foundation. Beginning in fall 2021, this two-year position, with a possible third-year renewal, will provide an invaluable professional development opportunity to a scholar interested in a curatorial career in an art museum. It will also support scholarly research on SAAM’s permanent collection, one of the largest and most inclusive collections of American art in the world. The selected fellow will work under the supervision of a senior curator and in collaboration with a team of staff from various departments. The appointee will develop practical skills in all four areas of curatorial practice: research, installation and exhibition development, collections management and planning, and public service. He or she will also participate fully in the intellectual life of the museum’s Research and Scholars Center, home of its research fellowship program and journal, American Art.

DUTIES
Under the guidance of the supervisory curator, the Luce Curatorial Fellow will take a key role in the reconceptualization and reinstallation of works from the collection in thematically organized sections of SAAM’s Luce Foundation Center for American Art, the only visible art storage and study center in Washington, D.C. The rehang of the Luce Foundation Center will build on overarching concepts in the museum’s 2022–2023 reinstallation (currently in development) and illuminate connections among artists, artworks, and different facets of the collection. The appointee will research artists and artworks, rectify outdated or inaccurate records, write interpretive texts, and conduct audio/video recordings and/or offer tours to further support these installations. They will work with conservation, design, and installation staff to evaluate requirements and limitations of artworks within specific spaces and execute planned installations. The fellow also will have the opportunity to collaborate with museum interpretation and education staff to address diverse audiences and formats. The appointee may assist project-related development efforts and also propose speaking engagements or public presentations related to their research findings. In the second or third year, the fellow will have the opportunity to propose an installation for the galleries, an online exhibition, or a touring show.

QUALIFICATIONS
The ideal candidate will demonstrate scholarly excellence and promise in addition to a strong interest in a museum career. A PhD in art history within the last five years is preferred; however, the fellowship is open to individuals with other academic specialties, such as African American and Women’s Studies. Applications are requested from scholars whose interests and areas of expertise align with one of the museum’s collection strengths:

  • 19th-Century Art: The reinstallation of the permanent collection will necessitate the re-envisioning of the Luce Foundation Center’s display of 18th and 19th-century American art. The goals are to use the Luce Center as an extension and expansion of themes central to the reconceptualized galleries and to explore additional themes and constellations of significant artworks. The fellow will be a full participant in the curatorial discussions of those themes, interfacing with curators responsible for 20th century, modern and contemporary holdings as needed, and conducting in-depth research on individual artworks, artists, and historical frameworks associated with their area of expertise. Those areas can fall anywhere within the range of 19th-century art from the Federal period through the Gilded Age.
  • Folk and Self-Taught Art: Since 1970, when it acquired and first exhibited James Hampton’s The Throne of the Third Heaven of the Nations’ Millennium General Assembly, the Smithsonian American Art Museum has been acknowledged as a leader in recognizing and repositioning folk and self-taught artists and their important contributions to American art. SAAM’s collection became internationally known in 1986 with the acquisition of the Herbert Waide Hemphill collection and has grown exponentially since 2012 when the museum hired its first full-time curator specializing in this area. Within the area of folk and self-taught art, and reaching into the broader collection as needed, the Luce Curatorial Fellow may focus on frameworks including but not limited to era, region, type of practice, and cultural significance, or consider a particular artist or cultural group in depth. The appointee will also assist on the exhibition project Amish Quilts from the Faith and Stephen Brown Collection, opening in Spring 2024.

HOW TO APPLY
The fellowship is categorized as a term trust position (IS-9, not-to-exceed three years) with a starting salary of $60,129 plus benefits and an allowance for research and conference travel. The Smithsonian offers a comprehensive benefits package that includes, in part, vacation and sick leave, holidays, and health insurance.

Applications must be received by Tuesday, June 1, and include:

  • A cover letter outlining the candidate’s interest in the fellowship
  • A statement of 750 to 1,000 words that describes the applicant’s area of research and how it relates to one of the two areas of curatorial focus outlined above
  • A published paper or other writing sample
  • Curriculum vitae with two references

Please submit applications to SAAMFellowships@si.edu.

All applications will be reviewed by a committee comprised of the chief curator, deputy chief curator, mentoring curator, and chair of academic programs. The fellowship must begin by December 31, 2021.

SAAM believes that recruiting and maintaining an equitable, inclusive, and diverse staff is critical to our mission. We welcome and encourage applications from qualified persons of color; who are Indigenous; with disabilities; who are LGBTQIA+; who are veterans; and/or with other underrepresented backgrounds and experiences. The Smithsonian does not discriminate on grounds of race, color, religion, sex (including gender identity, sexual orientation, and pregnancy), national origin, age, or disability.