About the Hoehn Curatorial Fellow for Prints at the University of San Diego: the position is intended for those with a background in prints and works on paper, but is open in terms of area of expertise. More information and a link to apply available here.
The Department of Art and Art History at Hunter College of the City University of New York is searching for a faculty member specializing in African American Art History and/or the History of the Art of the African Diaspora. The position is tenure track, and the search is open rank.
Faculty Open Rank – African American/African Diasporic Art History
Hunter College, City University of New York
Job ID: 23350
FACULTY VACANCY ANNOUNCEMENT
The Department of Art & Art History at Hunter College invites applications for a tenure-track, professorial position (open rank) in the history of African American Art and/or the art of the African Diaspora. We are particularly interested in a scholar and teacher whose primary research is situated in the Black Atlantic, between 1600 and the 1960s. The successful candidate will join an Art History program with existing strengths in the art histories of the global eighteenth century, and nineteenth- and twentieth-century Latin America, Western Europe, and the United States.
The Department of Art & Art History at Hunter offers the BA and MA in Art History, and undergraduate and graduate degrees in Studio Art to an ethnically and economically diverse student body that reflects the population of the city of New York. In addition to a strong record of scholarly achievement appropriate to the level of appointment, we are seeking candidates with a commitment to the public university as a vehicle for educational equity, and a strong record of teaching and student engagement at both the undergraduate and graduate levels. The department oversees four exhibition spaces, and offers MA and MFA students the opportunity to pursue an Advanced Certificate in Curatorial Studies; thus, experience with exhibition-making as a mode of art historical scholarship and a willingness to teach in conjunction with curatorial initiatives are desirable.
Responsibilities include ongoing scholarly research in the area of specialization; developing a curriculum in the art histories of the African Diasporas, and teaching those courses on the undergraduate and graduate levels, as well as other foundational courses integral to our program as needed; advising MA theses and undergraduate honors projects; and service in the department, including, but not limited to, committee work, graduate admissions and examinations, and student recruitment and engagement.
We seek a scholar with the Ph.D. in hand, in Art History, Africana Studies, American Studies, or related field, with a significant record of art historical scholarship appropriate to rank, and evidence of ongoing research. Strong preference for at least two years teaching experience beyond graduate assistantships.
CUNY offers faculty a competitive compensation and benefits package covering health insurance, pension and retirement benefits, paid parental leave, and savings programs. We also provide mentoring and support for research, scholarship, and publication as part of our commitment to ongoing faculty professional development.
HOW TO APPLY
Applications must be submitted online by accessing the CUNY Portal on City University of New York job website http://www.cuny.edu/employment or https://cuny.jobs/ and following the CUNYfirst Job System Instructions. Current users of the site should access their established accounts; new users should follow the instructions to set up an account. To search for this vacancy, click on “Search Job Listings,” select “More Options To Search For CUNY Jobs” and enter the Job
Opening ID number 23350.
Click on the “Apply Now” button and follow the application instructions. Please have your documents available to attach into the application before you begin. Please note that the required material must be uploaded as ONE document under CV/ Resume (do not upload individual files for a cover letter, references, etc.). The document must be in .doc, .docx, .pdf, .rtf, or text format, and the name of your file should not exceed ten (10) characters. DO NOT USE SYMBOLS or DIACRITICAL MARKS.
Incomplete applications will not be considered. Please include:
– Cover Letter
– Curriculum Vitae/ Resume
– Statement of scholarship interests,
– Sample of recent publication,
– Undergraduate and graduate syllabi
– Names, position and contact information of 3 current references
Upload all documents as ONE single file– PDF format preferred.
Review of applications will begin on February 15, 2022, and will continue until position is filled.
JOB SEARCH CATEGORY
CUNY Job Posting: Faculty
EQUAL EMPLOYMENT OPPORTUNITY
CUNY encourages people with disabilities, minorities, veterans and women to apply. At CUNY, Italian Americans are also included among our protected groups. Applicants and employees will not be discriminated against on the basis of any legally protected category, including sexual orientation or gender identity. EEO/AA/Vet/Disability Employer.
In ‘Race, Ethnicity and the Visual Arts in 20th and 21st Century Britain’, Richard Hylton, Lecturer in Contemporary Art, SOAS, and Eddie Chambers, David Bruton, Jr. Centennial Professor in Art History, University of Texas at Austin will offer brief comments on recent histories of Black artists in Britain.
Though the documented presence of Black artists in Britain goes back many decades, recent developments in these histories have included marked and noticeable changes in the institutional recognition and embrace of practitioners of the contemporary era. How have artists been caught up in a changing art world seemingly now inclined to embrace certain artists, even as it maintains its wariness and partiality around Black artists’ proximity to ‘race’ and ‘ethnicity’. Further, which art practices have become particularly celebrated?
Two short commentaries, by Hylton and Chambers will open up considerations of these questions, in a panel chaired by Emily Burns, Associate Professor, Auburn University, who recently spent time as a visiting professor at the University of Oxford.
Organized by the University of Texas at Austin’s British, Irish and Empire Studies program, convened by Professor Philippa Levine
Booking: To attend the talk, please register via Zoom.
The Association of Print Scholars (APS) is currently accepting applications for the first of two intensive, hands-on printmaking workshops for emerging scholars and curators funded by The Paper Project: Prints and Drawings Curatorship in the 21st Century, an international initiative of the Getty Foundation that supports training and professional development for early- and mid-career curators of prints and drawings.
Based in New Mexico, this five-day workshop will be dedicated to planographic techniques (lithography and monotype) and will be hosted at the renowned Tamarind Institute and the University of New Mexico Art Museum in Albuquerque and 10 Grand Press in Santa Fe.
A thorough comprehension of various printmaking methods is critical to producing scholarship and exhibitions on these media. Yet, many early-career print curators lack such practical experience as they embark upon their careers due to competing professional and academic demands that make it difficult to enroll in a semester-long printmaking course. Because the intricacies of printmaking are often difficult to grasp from text alone, APS hopes this workshop will provide invaluable technical and material knowledge of the medium that will not only contribute to, but also enhance, a print curator’s and scholar’s understanding of a work’s content, intention, and aesthetic. Our aim is also to prepare participants to better communicate these complex techniques in an accessible language to a general audience and contribute new personal insights to the field.
Ten early-career curators and scholars will be selected to participate in the workshop. Designed as an intensive program, the first two days will consist of hands-on work in lithography at the Tamarind Institute. The third and fourth days will be dedicated to studio work in monotype at 10 Grand Press. The final day will consist of a tour of the works on paper collection at the University of New Mexico Museum of Art.
Applications to the workshop are open to candidates who have a graduate degree (or equivalent experience), which must have been awarded within 10 years. Preference will be given to early-career curatorial professionals (curators, curatorial or research assistants/associates, postdoctoral fellows), although advanced graduate students and independent scholars with a demonstrated interest in printmaking and curatorial practice will also be considered.
Travel, accommodation, and meal expenses will be fully covered by APS and the Getty Foundation.
To apply, please submit the following documents via an online form:
- A brief statement (500 max.) describing your research/work and how it would be enriched by this workshop
- If you have previously participated in programming sponsored by The Paper Project or the Association of Print Scholars, please include a brief description of your experience and how it impacted your scholarship (250 words max.)
- A current CV
- Contact information for an academic or professional reference. Please note that one letter of reference must be emailed to firstname.lastname@example.org, with the subject line “APS Printmaking Workshop 2022 – Reference [Candidate Last Name, First Name]”, by your recommender following the submission of the online application.
All application materials are due by November 6, 2021. To view the full announcement online, click here.
Important notice regarding COVID-19: The health and safety of our workshop attendees is our top priority. In accordance with local state law requirements, all those attending the workshop must be fully vaccinated, and guests will be required to share proof of vaccination and photo identification prior to the start of the workshop. Face coverings will also be required in all indoor public spaces. We are monitoring the situation closely and expect to provide additional health and safety protocols closer to the event. Thank you for your cooperation.
The Menil Drawing Institute is accepting applications for two of its fellowships for the 2022-23 academic year: the Menil Drawing Institute Pre-Doctoral Fellowship and the Morgan-Menil Research Fellowship.
The Menil Drawing Institute Pre-Doctoral Fellowship is open to American and international students whose doctoral research focuses on modern and/or contemporary drawing. The Pre-Doctoral Fellowship is 9 months in length, lasting from September to June each year.
The Morgan-Menil Research Fellowship is awarded jointly by the Menil Collection and the Morgan Library & Museum. This fellowship is 3 to 9 months in length. It is meant to support independent projects on some aspect of the history, theory, interpretation, or cultural meaning of drawing throughout the history of art. It is open to candidates at the pre-doctoral, post-doctoral or mid-career level.
For more details about these opportunities, please use the following link:
Brandywine Workshop and Archives
Located on the Avenue of the Arts in Philadelphia, Pennsylvania
Job Title: Deputy Director of Programming
The Board of Directors of the Brandywine Workshop and Archives seek a Deputy Director of Programming. This is a unique opportunity to grow an organization with a strong reputation and deep commitment to artist development and the printmaking process.
About the Organization
Founded in 1972 by Allan Edmunds, the Brandywine Workshop and Archives (BWA) has grown from a group of successful artists, art professors and teachers supporting the production of limited edition original fine art prints, training and mentoring young artists, to an internationally known organization dedicated to professional development of artists and connecting communities across the world through the artistic practice and creative outcomes of printmaking.
Incorporated as a 501(c)(3) in 1974, BWA has a long history of artist residencies, exhibitions, and educational programming. A diversity-driven cultural organization that produces and shares art to connect and inspire, BWA builds bridges among global communities. Today, BWA has expanded its efforts to include not only original fine art prints, but artist documentaries, 16 satellite collections, and the creation of Artura.org – a free virtual database of culturally diverse art and artists. BWA is recognized for its education programs and for its work with both mainstream and under-represented communities.
About the Position
Reporting to the Executive Director, The Deputy Director of Programming is a new position that will be responsible for oversight of all curatorial and educational activities and serve as a primary point of contact for full-time, part-time, and contract staff. The Deputy Director of Programming will operate as senior management, acting as a key partner to the Executive Director in shaping BWA’s artistic vision and helping to develop the organizational structure to support it.
The Deputy Director of Programming will have a track record of organizational management as well as experience and passion for working with artists and arts educators. They will be responsible for maintaining current artistic and educational partnerships, while also developing new opportunities for collaboration locally, nationally, and internationally.
As part of its succession planning, BWA has identified this position as a developmental opportunity. The ideal candidate will have the opportunity for swift advancement into the Executive Director role – should the candidate be a good fit for the organization.
Essential Functions & Responsibilities
● Curate exhibitions, artist commissions, and related projects and publications, with a specific focus on amplifying current and historically marginalized voices ● Coordinate and manage the Artist Residency program (a support staff of coordinator and cohort of master printers does the actual work)
● Manage and expand the Satellite Collections program through communications with partners. All proposed new collections involving donated artworks must be approved prior by the Board of Directors through recommendation of its Collections Committee
● Work with education and program staff to develop thoughtful and innovative exhibition and collections programming
● Manage all full-time and part- time staff, consultants and contracted employees, and interns
● Oversee management of the Brandywine Permanent Collection ● Work with Executive Director to develop annual departmental goals and budgets ● Work with Executive Director on fundraising and donor stewardship ● Identify and manage strategic institutional partnerships to extend BWA’s audience and reach
● Bachelor’s degree in art history, fine art, arts management, museum management, business management, or a related field – or equivalent experience ● At least 5 years of progressively responsible arts management experience ● Demonstrated organizational management skills
● Strong written and interpersonal skills
● Ability to successfully develop and manage departmental and project budgets ● Collaborative and open management style with success in managing teams and partnerships
● A track record of producing exhibitions and/or successful event planning ● Entry-level experience in fundraising and donor stewardship
● Background and/or interest in printmaking
● Master’s/PhD in art history, fine art, arts management, museum management, or a related field
● Proven experience providing strategic leadership and the implementation of a vision with organizational priorities
● Demonstrated strong supervisory and team-building skills, including the ability to recruit, empower, develop, and retain a strong staff. Recognized as providing and setting clear priorities, as well as building a collaborative, trusting, and transparent work culture
Starting annual salary is $70,000.
Please submit a one-page cover letter and resume. Please direct any questions to Carolyn Lowe, Chair, Search Committee at email@example.com.
BWA has a longstanding tradition of centering the experiences of marginalized people—including people of color, women, people with disabilities, and LGBTQ+ people. BWA leadership is committed to continuing that work. Therefore, we strongly encourage applications from people with these identities.
Deadline to Apply: Monday, November 1, 2021
Start Date: Monday, January 3, 2022 (preferred)
First Forum will be held virtually and the program schedule has panels and events spread out over two weeks on October 21, 22, 28, and 29. We have an exciting and dynamic set of speakers including our keynote speaker Dr. Bo Ruberg, an Associate Professor of Film and Media Studies at UC Irvine. Additionally, we will have a roundtable discussion featuring Dr. Erin Y. Huang, Dr. Camilla Fojas, and Dr. Ayesha Omer. You can find a full conference schedule on our website and through the QR code on the attached flyer. We look forward to seeing you there!
CALL FOR PAPERS
Issue 3: In Situ (September 2022)
Deadline for proposals: Monday, October 11, 2021
This issue of the Art Institute Review addresses the concept of in situ—a natural, original, or existing position or place. The notion relates to basic questions art historians, conservators, curators, and other cultural heritage professionals ask about all works of art: Where were they installed or exhibited? How were they experienced in their original time and location? To what extent did these initial contexts orient and shape artistic intent? Location and place may change over time. What happens when the physical context of a work of art is interrupted or upended? What are the stakes surrounding its placement and/or displacement? Research and analysis are themselves informed by position and place. How are art historical, conservation, and material science methods shaped in situ? How must they change when addressing a work of art that has been removed from its original context(s)?
Such questions regarding the past, present, and future of artworks have always been important in art history and related disciplines, but they have taken on even greater weight in our particular moment. What does it mean to recontextualize works in new spaces? What happens when we privilege one point in an artwork’s history over another—or when we deprioritize or disregard that history? How can digital tools and technologies help us better understand, question, and critique the “place” of art?
The third issue of the Art Institute Review invites you to consider, interrogate, and visualize the concept of in situ, understood broadly. We welcome topics from an expansive geographical, temporal, and theoretical range that could include: archaeological investigation and research, theoretical and practical projects of restitution and decolonization; community-based conservation; site-specific artworks and interventions, Gesamtkunstwerk, and land art projects; digital and material re-creations of artistic sites and architectural settings; and more. We especially welcome proposals focused on historically underrepresented objects or narratives, proposals from emerging scholars, and proposals that optimize the digital platform. Not only is the digital realm itself a place ripe for critical exploration through the theme, but it also supports innovative technological experiments and creative realizations of historic, contemporary, and imagined spaces.
This issue is co-edited by Elizabeth McGoey, Associate Curator of Arts of the Americas, the Art Institute of Chicago, and Jeanne Marie Teutonico, Associate Director of Strategic Initiatives and Publications at the Getty Conservation Institute.
Submit proposals here.
For more information on what we’re looking for, visit the journal website, here.
We aim to review proposals and notify the authors of accepted proposals within approximately one month of receipt. Full manuscript is due about two months after notification.
Artist and scholar Amalia Amaki will be our Keynote for “The Material and the Virtual in Photographic Histories” (October 7-9, 2021). The First Symposium of the Photography Network will be held virtually, jointly hosted by the Photography Network and Folkwang University of the Arts, Essen. We are looking forward to our conversation with her on Thursday, October 7 at 4:00-4:45 pm UTC (12:00–12:45 pm EST) about her impressive art range and her ability to stretch the limits of photography’s materiality. The three-day symposium will pair previously recorded presentations (now available to registered attendees) with live roundtable discussions and Q&A sessions on October 7th, 8th, and 9th.
Registration is open and the presentation videos are live for the First Symposium of the Photography Network (October 7–9, 2021), a virtual event. Register now! Registration for this free event is now open. Symposium attendees are required to be current Photography Network members in good standing. Annual membership is $20 (student/unaffiliated), $40 (Affiliated), or $100 (Sustaining Member). Please visit the Photography Network’s website for more information on how to join. Once a member, link to the live sessions under the Account feature by clicking “Symposium_live (affiliated).”