The Museum of Fine Arts, Boston seeks a promising and dynamic scholar in the fields of decorative arts and sculpture to become the Ellyn McColgan Assistant Curator in the Art of the Americas department. We look to hire a team-oriented colleague who will promote, interpret, build, and care for all aspects of this extensive collection, which encompasses art from North, Central, and South America, from the sixteenth through the twentieth centuries. The McColgan Assistant Curator will work with colleagues across the Museum to achieve the institution’s Strategic Plan goals, such as diversifying and reinterpreting the collection through targeted acquisitions, gallery displays, exhibition development, publications, presentations, and audience engagement.
Candidates should demonstrate excellent research, writing, and speaking skills, as well as the ability to manage complex projects effectively and to deepen relationships with donors and supporters. Ideal candidates will demonstrate a breadth of knowledge and experience, as well as a willingness to gain new expertise. An interest in and commitment to exploring the changing nature of art museums and their relationship to the public is desirable.
Minimum Qualifications and Experience:
• Graduate degree (M.A. or Ph.D.) expected, with specialization in decorative arts and sculpture of the Americas, or related fields.
• Three to five years of experience in a museum or comparable institution.
• Demonstrated scholarly ability through publications, conference papers, or other activities.
• Demonstrated curatorial ability through exhibitions, gallery displays, programs or other activities.
Ideal Candidate Profile:
• Committed to collaboration with others both inside and outside the institution, and ability to make decisions to move plans and objectives forward.
• Strong sense of accountability for achieving stated objectives and demonstrable experience doing so.
• Evident experience working successfully with colleagues to achieve collective objectives in such areas as visitor experience, marketing, education and digital initiatives.
• An international perspective but experienced in becoming personally and professionally committed to an institution’s city, people and artistic community.
• Speaking and/or reading ability in Spanish, French, or other relevant foreign language.
Personal Qualities and Attributes:
• Intellectually rigorous
• Inspirational, passionate, curious
• Generous of spirit, a team player
• Superior judgment, tact and diplomacy, with good organizational skills
Application materials are being accepted immediately. For consideration, please submit your letter of interest and CV to: firstname.lastname@example.org. You may also submit your materials via postal mail to: Human Resources Department, Museum of Fine Arts, Boston, 465 Huntington Avenue, Boston, MA 02115.
The MFA is an Equal Employment Opportunity Employer that is committed to building a culturally diverse staff and strongly encourages applications from diverse candidates.
July 13, 2018
Art of the Americas
Calls for Contributors: Book Anthology on Race, Folk, and Ethnography in Visual Culture
Deadline: September 14, 2018
The recent rise in problems of immigration and race are of long historical standing. During the nineteenth and early twentieth centuries in Europe, increased colonial expansion, industrialization, economic inequality, and nationalism severely tested the assumptions of a shared social fabric. In this, the visual arts performed a key function by amplifying or mitigating racial and ethnic difference. We are seeking proposals for essays that explore representations of race and folk within the context of the disciplines of ethnography and anthropology. The focus of the book will be to examine art’s role in forming social constructions about the interactions between white majority populations with minorities that are indigenous, migratory or nomadic, or relocated through colonization. Proposals are encouraged which look at understudied countries and challenge traditional assumptions, such as perceived homogenous populations (Scandinavia, for example) or those with diverse and shifting multi-ethnic groups, as in Central Europe and Russia. Of particular interest are topics that consider ambiguities and contradict assumptions of uniform binary relations: East-West fusions within racial origins, interracial marriages, fluctuating borders, and migratory populations. One might consider the fact that the folk were valorized in definitions of national identity simultaneously with the marginalization of indigenous people through racist characterizations and ethnic categorizations. So too, admiration for the primitive and the popularity of “exotic” people as entertainment co-existed with their denigration.
Proposals are welcome that apply themes from critical race theories, such as the definition of racial identity through social construction, evidence of microaggressions, and practices of essentializing ethnic groups rather than individuals. How did countries that viewed themselves as progressive and inclusive deal with evidence that contradicted this? In what ways did multi-ethnic regions foster a common culture while at the same time practicing biological or cultural racism? How did migratory folk populations disrupt conventional definitions of ethnic identity, which were based in part on geography? Proposals are also welcome that consider continuing echoes of these issues later in the twentieth-century; that look at ways in which marginalized minority groups used culture as a means to empower and define themselves; or that focus on the construction of white racial identity.
Proposals should be approximately 300 words and are due by September 14.
JOAN TISCH TEACHING FELLOWS PROGRAM
The Teaching Fellows Program offers graduate students pursuing advanced degrees in art history and related fields the unique opportunity to work directly with the Whitney Museum’s collection and audiences within a community of academic support. Participants in the program design specialized tours and lecture to museum visitors, public program audiences, and senior audiences. Fellows meet for periodic workshops for feedback and support on scholarly work and for training in teaching, communication and presentation skills or other specialized topics. More advanced Teaching Fellows may also be invited to develop special lectures and multi-session courses for special members groups and the public.
This selective program offers an invaluable opportunity for students to develop skills for public speaking without notes, communicating sophisticated ideas in a clear and organized fashion, and finding their own authentic voice. Alumni of the program, who have gone on to a range of prestigious positions in museums and academia, often reference how these skills benefited them throughout their careers.
Candidates must be graduate students currently enrolled in a Ph.D. program, finishing their coursework or working toward the completion of their dissertation. We are seeking diverse perspectives on American Art of the 20th and 21st Century. Specializing in areas covered by the Museum’s collection is helpful, but is not a prerequisite for selection. Fellowships are ideally for a period of three years, with a minimum commitment of two years. During this period, Fellows are expected to live in or near New York City. Fellows are paid $125 per hour for private and specialized tours; $100 for public tours; $75 for workshop participation; and have the potential for further pay for multi-week courses, colloquia and other projects.
We are currently interviewing for a position to start in the fall of 2018.
To apply, please send the following to TischTeachingFellows@Whitney.org:
1) a statement of purpose, describing why you are interested in the program and how you see your skills and experience contributing to what we do
2) a CV
3) a letter of reference or contact information of a reference
The Joan Tisch Teaching Fellows Program at the Whitney Museum of American Art is supported by a generous gift from Steven Tisch.
Associate Curator for Modern and Contemporary Collections, Specializing in Postwar African American Collections
Reporting to the Head of Modern and Contemporary Collections in the Getty Research Institute’s Curatorial Department, develops special collections and general library collections for research on 20th-21st century American art history, working in the context of present GRI collections as well as local holdings and other related collections on American art and artists. Within modern and contemporary, primary attention will be devoted to developing African American collections. Requires experience and demonstrated expertise in modern and contemporary history, with particular expertise in African Amerian art history; knowledge of recent research, publications, and exhibitions in both African American and in contemporary art is essential. Makes recommendations for single works and collections for acquisition: researching, examing, and drafting proposals; similarly, assesses donations and large collections for research value, authenticity, and condition (including proenance); drafts and negotiates contracts and appropriate permissions and licenses; works collegially, and often collaboratively, with curators in the department, archivists, librarians, bibliographers, and other colleagues at the GRI and across the Getty. Utilizes scholarly background and expertise interpreting the collections in the preparation of exhibitions, publications, lectures, online/digital resources, and public programs. Brings a network of relationships with artists, galleries, museums, and dealers. Responds to queries concerning the collections, assists with processing decisions, evaluates items requested for loan by other institutions, and recommends conservation treatments.
Major Job Responsibilities
- Applies advanced knowledge of art history and art education to complex curatorial assignments
- Performs complex scholarly research to support the institutional mission
- Organizes significant exhibitions, major publications, or major acquisitions
- Cultivates connections nationally and internationally with scholars and museum colleagues
- Actively participates in acquisitions and collection development
- Publishes and lectures in area of specialization
- Assesses conservation needs of the collections; participates in digitization; assesses loan requests
- Collaborates in and may lead research projects; shares collections and/or serves as a resource to scholars, visitors and staff
- M.A. or Ph.D. in art history or related area in the humanities
- 5 years related experience
- Skilled in all curatorial functions
Knowledge, Skills and Abilities
- Demonstrated ability to build long-term relationships, collaborate and direct teams across disciplines
- Competent with collection management and digital asset management tools
- Accomplished in art historical research and writing
- Ability to communicate and distill information for a specialized audience or the general public
- Ability to adapt written material for a variety of audiences online or in print
Panorama: Journal of the Association of Historians of American Art seeks proposals for papers on the topic of “Amateurism and American Visual Culture.” Accepted papers will appear in a guest-edited section of Panorama issue 5.1 (May 2019).
Amateurism, as both a praxis and an attitude, has been a fundamental concept for the development and reception of American art. In the Colonial period, for instance, trained painters and self-taught limners alike were measured against Europe’s professional portraitists, and producers of decorative arts were often viewed as craftspeople or artisans rather than fine artists. And during the nineteenth century itinerant painters and so-called “folk artists” established careers that had little in common with those of artists now recognized as American masters, like Thomas Cole and Frederic Edwin Church. At the same time, however, Americans (Benjamin Franklin, for example) have long admired the “Yankee ingenuity” and “useful knowledge” of self-starters and laypeople.
In the twentieth century amateurism emerged as an invaluable foil for American modernists: Robert Henri encouraged the painting of what one knows rather than what one learns; the regionalist artists disavowed the theoretical expertise of the Stieglitz Circle artists and writers; and the junk stylings of some Neo-Dadaists were complemented by their slapdash techniques and a casual disregard for “high art.” Snapshots, home movies, and hobby art are more obvious, though historically far less visible, examples of artforms that have been classified as amateur, and today, of course, DIY productions, both digital and analog, abound, and everyone with a smartphone is an accidental curator.
The various historical and contemporary categorizations of Native American visual culture are especially relevant to these themes. We know, for instance, that Abstract Expressionists borrowed from supposedly “primitive” artforms to heighten the aura of untutored amateurism around their works. But we also know that appropriation is just one context, and a flawed one at that, for analyzing Native American art, which for better and for worse, often finds itself at the crossroads of the vernacular and the institutional. And, of course, Native American artists have negotiated amateur and professional identities for their own purposes, in order to advance sovereignty, for example, or to participate in markets not entirely their own.
Refreshingly, scholars, curators, and publishers have begun to examine the art and visual culture of amateurism in recent years: there is the enduring appeal of the photographic snapshot and accompanying “snapshot aesthetic,” recent books and articles on amateur film, successful folk art exhibitions, and the National Gallery of Art’s current exhibition Outliers and American Vanguard Art. Nevertheless, the significance of the amateur-professional dialectic to American art requires more critical attention, and, at a time when the arts and humanities are subjected to more and more evaluative measures, the insouciance of amateur art seems more and more urgent.
Panorama seeks papers of approximately 5,000 words that take innovative, interdisciplinary approaches to the analysis of amateur art and its material, historical, theoretical terrain. We encourage authors to consider the unique advantages of the journal’s online platform, which permits various digital enhancements, such as high-resolution images with zoom capabilities, the embedding of moving images and films, interactive maps, and the reconstruction of historical exhibitions, to name a few possibilities.
To propose a paper, please send a 500-word abstract and curriculum vitae to Justin Wolff: email@example.com.
Deadline for proposals: May 15, 2018
Deadline for papers: December 31, 2018
Crystal Bridges Museum of American Art is currently accepting applications for four curatorial positions – three that focus on contemporary American art and one that focuses on American art pre-1960.
Assistant Curator, The Momentary
• Position Summary: The Momentary is a new Center for Contemporary Visual and Performing Arts and Culinary Discovery in Bentonville, AR, slated to open in spring 2020. The Center will operate as a subsidiary of Crystal Bridges Museum of American Art. The Assistant Curator, The Momentary will serve as a key member of the curatorial team and support the Curator, Contemporary Art and The Momentary’s Director in the development and implementation of curatorial projects, including exhibition planning and installation, artist projects, and publication.
Curator of Performing Arts
• Position Summary: The Curator of Performing Arts will serve as a senior member of The Momentary’s curatorial team and support the Momentary’s Director in the development and implementation of performing arts projects, including concerts and performances, residencies, commissions, workshops, audio and video recordings, and publications. The Curator of Performing Arts will work alongside the Curator, Contemporary Art and will lead a small team of Programmers.
• Position Summary: The Curatorial Assistant works under the immediate supervision of the Curator of American Art and is responsible for providing curatorial and administrative support to the Curator and Assistant Curator. The Curatorial Assistant is an integral member of the curatorial team and will contribute to the curatorial vision. A strong interest in and experience with American art before 1960 is required.
Curatorial Assistant, State of the Art II
• Position Summary: The Curatorial Assistant, State of the Art II (SOTA II) works under the immediate supervision of the Curator, Contemporary Art and is responsible for providing curatorial and administrative support to the SOTA II curatorial team. A strong interest in and experience with contemporary art is required. This is a full-time, temporary, two-year position.
For more detailed job descriptions, and to apply, please visit:
Curatorial Assistant, State of the Art II: https://www.paycomonline.net/v4/ats/web.php/jobs/ViewJobDetails?job=5014&clientkey=BC9586F35E70BD74D59EC08D93D8EDD5
Carroll Parrott Blue, MFA
I am looking for an art scholar who specializes in late 20th and early 21st African American Art who is interested in contributing an introductory chapter on a 60-year review of the works of my work. As artist Carroll Parrott Blue, I am assembling my archive and am open to an interview by the author.
From the 1960s to the present, my work encompasses published written works, still photography, film, video, public art, digital media, digital stories, interactive multimedia, ARC GIS Story Maps, production notes and other materials associated from many of the productions.
The essay that will support the completed archival report should be roughly 6,000-8,000 words with notes and references included. The interview as a transcript will be separate. The main focus of the essay is on an overall or comprehensive analysis of the work. The author should be prepared to engage formal analysis, the history of the technological changes from analog to digital, race and gender theory, and biography.
The School of Art at the California Institute of the Arts (CalArts) invites applications for a full time faculty position in the Program of Art and Technology. The MFA in Art and Technology is a unique studio based program within an Institute that offers undergraduate and graduate programs in the performing, visual and musical arts.
The Art and Technology curriculum is centered on the student’s studio practice, creative research and an exchange of dialogue between peers, visiting artists and faculty. Technical instruction is offered in the creative use of computer programming, digital media and sound, immersive installation, interactive media and hybrid performance. This wide range of instruction is augmented with critiques, lectures and seminars that set out to challenge conventional ideas about what constitutes an art practice in the 21st century.
Requirements and Duties:
A cross-disciplinary studio practice is required, along with a significant record of exhibitions, the ability to engage in creative research and critical theory, art history and five years of professional experience using digital technology and software. At least three years teaching experience at the graduate level within the field of art and technology is expected.
-The successful candidate will be expected to teach a full-time workload that is the equivalent of four (4) courses per semester in the Program in Art and Technology.
– Mentoring graduate students
-Conducting mid-residency and graduation reviews
-Participating in curricular planning, admissions review and assessment for the Art and Technology program
-Attendance at program, school and Institute events
-Sustaining a vibrant exhibition record and achievement in the field of art and technology
-Three (3) or more years teaching at the graduate level.
-An MFA or terminal degree in a field relevant to the position
How to Apply
To apply please submit the following:
– Letter of application (include teaching philosophy)
– Names and addresses of three references
– Work samples that exhibit a technical and creative use of technology within a contemporary art practice. These work samples should include a relevant combination of the following: published writing samples, relevant websites, up to ten digital images and/or five video excerpts no longer than three minutes each.
-Brief course proposals are also encouraged.
Please submit all media and forms to SlideRoom –
Review of applications will begin immediately, and will be considered until April 6, 2018
Equity & Diversity
CalArts is proud of its diverse student body and deeply committed to supporting the cultural and artistic aspirations of all its students. A commitment to increasing opportunities for low-income students and currently disenfranchised groups is necessary, as is the desire to work to support institutional goals of equity and diversity in an ongoing way. CalArts is an Equal Opportunity Employer (EOE).
CalArts has a multidisciplinary approach to its studies of the arts through six schools: Art, Critical Studies, Dance, Film/Video, Music and Theater. CalArts encourages students to explore and recognize the complexity of the many aspects of the arts. It is supported by a distinguished faculty of practicing artists and provides its Bachelor and Master of Fine Arts students with the hands-on training and exposure necessary for an artist’s growth. CalArts was founded in 1961 and opened in 1969 as the first institution of higher learning in the United States specifically for students interested in the pursuit of degrees in all areas of visual and performing arts.
Call for Papers: Panorama: Journal of the Association of Historians of American Art
Panorama is a peer-reviewed, open-access online journal dedicated to American art and visual culture in all media, from the colonial period to the present day. The journal provides a high-caliber international forum for disseminating original research and scholarship and for sustaining a lively engagement with intellectual developments and methodological debates in art history, visual and material cultural studies, museums, and curatorial work. It encourages a broad range of perspectives and approaches within an interdisciplinary framework and seeks to acknowledge in full work by African American, Asian American, Latinx, and Native American artists, makers, curators, art historians, and others engaged in visual cultural production in the United States.
Panorama welcomes submissions that utilize the insights of both traditional and new historical and interpretive approaches to art in the US in both local and global contexts. The editors seek submissions in various formats, including feature length articles (7,000-10,000 words), research notes (maximum of 2,500 words), book and exhibition reviews, and “Bully Pulpit” suggestions–texts that trace a conversation or debate on a topic that is of general interest to the field.
For more information, see: http://journalpanorama.org/submissions/