Category: opportunities

Opportunity for Historians of 19th and early 20th-century African American Architecture and Material Culture and Louisiana History and Culture

Betty Reid Soskin is the granddaughter of Louis Charbonnet (1869-1924), architect and builder of Corpus Christi Church and School in New Orleans.  Ms. Soskin has information and memorabilia about her grandfather that she would like to share with reputable researchers of 19th and early 20th-century African American architecture and material culture, and/or Louisiana history and culture.

Initially, a creator of ornamental iron work, Louis Charbonnet became an engineer, inventor and millwright.  His New Orleans business establishment dates to 1893.  After St. Louis School was destroyed in a 1915 storm, Charbonnet drew plans for its reconstruction and supervised the project.

To learn more, contact Ms. Soskin cbreaux@earthlink.net

Also see Betty Reid Soskin’s blog!

louischarbonnetsr

Photo of Louis Charbonnet Sr. at “The Charbonnets” homepage

FEL: Appel Fellowship @ Delaware Art Museum

Delaware Art Museum Appel Fellowship for 2017

The Delaware Art Museum is pleased to announce the project for the 2017 paid Alfred Appel, Jr., Curatorial Fellowship. The fellowship pays $3,500 for approximately two months of work, on site, at the Museum to be served between April and September 2017. The application is due March 1, 2017.

For details, please see our website: http://www.delart.org/about/opportunities/#fellowship.

The 2017 Appel Curatorial Fellow will assist in the planning and development of three exhibitions that focus on documenting the Civil Rights Movement. The trio of exhibitions will be on view in the summer of 2018 to mark the 50th anniversary of the riots and occupation of Wilmington, Delaware, in the wake of the assassination of Martin Luther King, Jr. The Museum will be hosting an exhibition of Danny Lyons’ photographs for the Student Non-Violent Coordinating Committee (1963–64). A second exhibition features drawings of the Montgomery Bus Boycott (1956) by Harvey Dinnerstein and Burton Silverman. In addition, the museum is commissioning a contemporary artist to work with images of the 1968 riots in Wilmington.

The Appel Curatorial Fellow will work closely with Margaret Winslow, Curator of Contemporary Art, and Heather Campbell Coyle, Chief Curator and Curator of American Art.

FEL: Andrew W. Mellon Curatorial Fellow-Prints, Drawings, and Photographs @ RISD Museum

The Museum of Art, Rhode Island School of Design is pleased to announce a fellowship funded by the Andrew W. Mellon Foundation for an outstanding junior scholar who wishes to pursue a curatorial career. The Mellon Fellow will be fully integrated into the Museum’s Department of Prints, Drawings, and Photographs. The Fellow will have access to the museum collections and research libraries in the region and will enjoy all the professional privileges of the museum’s staff. The Fellow will be expected to participate in strengthening the Museum’s engagement with the academic curricula at Brown University and RISD.

Core Activities
• Work with the two department curators to foster collaboration with faculty at RISD, Brown University, and area colleges to encourage greater use of the collection in classes and individual study.
• Supervise the department’s active study room and act as the primary liaison between the department and faculty teaching from the collections, including making regular presentations to classes.
• Become familiar with the collection’s 28,000 works on paper and undertake research in area of expertise, leading to an exhibition to be presented in the third year, preferably in collaboration with a faculty member from Brown and/or RISD. Assist with departmental exhibitions as assigned.
• Conduct research to accurately catalogue new acquisitions, answer queries about the collection, and interact with scholars, students, and the public on collection matters.
• Give presentations to docents, the general public, and other museum constituents on the collection and exhibitions.
• Travel with the department’s curators to explore potential acquisitions and to attend scholarly conferences and relevant exhibitions.
• Oversee use of and access to the departmental storage area and ensure the special care, security, and proper handling of collections.
• Train and direct student employees and interns as needed.
• Assist with additional departmental activities as assigned.

The Andrew W. Mellon Curatorial Fellowship is a full-time, limited term (3-year) benefited position. Travel and research funds are available. The appointment will begin as soon as possible. Applicants who complete their applications by January 9, 2017 will be given full consideration.

Ph.D or ABD in Art History or related field required. The Fellow should have a demonstrated interest in and knowledge of the history of prints, drawings, or photographs. Strong commitment to object-based teaching. Ability to handle original works of art with care. Excellent communication and interpersonal skills, and the ability to be a team player in an active office environment.

Museum and/or teaching experience. Knowledge of a second language is highly desirable.

The successful candidate will be required to meet our pre-employment background screening requirements.

To learn more about the RISD Museum visit http://risdmuseum.org/. To apply visit https://careers.risd.edu/postings/1411

JOB: Director of Curatorial Services @ African American Museum in Philadelphia

African American Museum in Philadelphia
Director of Curatorial Services

The Director of Curatorial Services manages and directs the curatorial and interpretive initiatives and activities of the African American Museum in Philadelphia (AAMP). The Director of Curatorial Services has primary oversight of AAMP’s exhibition, collection, and conservation functions. The Director of Curatorial Services provides the leadership necessary for the presentation of intellectually rigorous and compelling exhibits that fulfill AAMP’s mission while fostering civic engagement. The Director of Curatorial Services also oversees AAMP’s collection; ensuring its on-going preservation, daily management, and accessibility to diverse audiences. The Director of Curatorial Services works with the President and CEO and AAMP’s Board to ensure the development, adoption and implementation of policies and procedures to that adhere to established standards of stewardship. The Director of Curatorial Services works directly with the President and CEO and is part of the Museum’s Senior Management Team

Principal Duties and Responsibilities:

• Exhibitions. Lead the development of exhibition proposals and ensure they meet intellectual, interpretive, audience, and mission goals; identify and hire outside curators, artists, art historians, and historians to develop or consult on exhibition proposals and exhibition development; lead research phase of exhibition development; develop three- to five-year exhibition schedule; oversee exhibition design, production, and installation. Collaborate with AAMP’s Education and Public Programming Departments to ensure that exhibits create compelling and meaningful educational experiences for visitors to the Museum; oversee regular and ongoing audience research and evaluation of exhibitions and partnerships; oversee written, visual, and oral interpretive tools and collateral materials; assist in fundraising efforts for exhibitions..

• Collection and Conservation Management. Supervise the management of AAMP’s collection, including registrarial activities (loans, accessioning, deaccessioning, recordkeeping, inventory); preservation activities; and making the collection accessible through exhibition and online resources; oversee the updating and implementation of collection policies, procedures, and practices that meet prescribed national standards; assist the AAMP Board in to develop a collection strategy to build the collection to ensure it reflects the Museum’s mission; assist in fundraising efforts for collection preservation and access activities and programs.

Also:

• Oversees training and supervises professional staff, including the Exhibit Manager and the Collections Coordinator
• Develops annual goals and objectives for the exhibitions, and collection and conservation management in accordance with the institutional mission and strategic plan
• Serves as staff liaison to AAMP’s Collections and Acquisitions Committees;
• Represents, as assigned, the Museum on external committees, panel, or councils
• Develops and implements an annual budget
• Assumes other duties as appropriate for the operation of the Museum, or as assigned by the President and CEO

Qualifications:

• MS/MA in African American Studies, American History, Art History (African or American Art focus preferred), or a related humanities field
• Ten years experience in museum collection and curatorial work
• Seven years experience as a supervisor
• Record of scholarly research and publications and intellectual leadership
• Experience writing foundation and state and federal grants
• Knowledge of standard collection museum policies and procedures
• Experience managing exhibition development, production, and installation
• Experience leading and managing partnerships with other cultural organizations and community groups
• Ability to plan and manage budgets
• Ability to supervise people and manage complex programs and projects
• Ability to plan and implement new programs
• Ability to solve technical, administrative, and personnel problems creatively
• Ability to think strategically
• Superior verbal and written communication skills
• Commitment to the mission, values, and programs of the African American Museum in Philadelphia

To apply, send cover letter, resume and any supplemental materials to  Patricia Wilson Aden via email at pwilsonaden@aampmuseum.org or via the post at:

Patricia Wilson Aden
President & CEO
African American Museum in Philadelphia
701 Arch Street
Philadelphia, PA  19106

Inquiries via email only.

 

CFP: “Art History as Créolité/Creolising Art History” @ AAH Conference, Loughborough University, UK

“Art History as Créolité/Creolising Art History”

Deadline: November 7, 2016

Association of Art Historians (AAH) annual conference

6th – 8th April 2017

Loughborough University, England

As part of the three-day workshop titled ‘Créolité and Creolisation’, which took place on St Lucia as one of the platforms of Documenta 11 (2002), participants explored the genealogy of terms such as ‘creolization’ and ‘Créolité’, and their potential to describe phenomena beyond their historically and geographically specific origins (however slippery they are). Surprisingly, there has been little engagement with the potential of creolisation as a way of doing or writing art histories differently since that time. This session aims to redress this lacuna.

Stuart Hall, one of the workshop participants, writes that what distinguishes creolisation from hybridity or diaspora is that it refers to a process of cultural mixings that are a result of slavery, plantation culture, and colonialism. Yet, Martinican-born poet and theoretician Édouard Glissant notes that creolisation can refer to a broader set of sociocultural processes not only in the Caribbean but also ‘all the world’ (Tout-monde). Drawing on Hall and Glissant, Irit Rogoff suggests that créolité can more broadly reference the construction of a literary or artistic project out of creolising processes.

What would it mean to re-imagine art history as Créolité? That is, hegemonic Western art history has created in its wake an array of ‘other’ art histories connected to regions such as Latin America, the Caribbean, Eastern Europe, and South Asia to name a few. Of special interest in this session is not only considering such regional art histories as relational to each other, but also exploring how other constructions of identity – such as gender, sexuality, race, and class – are intertwined with them. Papers exploring contemporary and historical periods are both welcome; and those critically examining Glissant’s terms – such as ‘opacity’ and ‘globality’ – to bear on the session theme are especially encouraged.

Please email your proposals (max 250 words) for a 25-minute paper to session convenor Alpesh Kantilal Patel (Florida International University, Miami) at alpesh.patel@fiu.edu by November 7.

Also, include a short title, your name, affiliation and email.

CFP: Terra Foundation Int’l Research Travel Grants for US-based Scholars

Terra Foundation International Research Travel Grants offer US-based scholars working on American art and visual culture prior to 1980 the opportunity to conduct research outside the United States. Grant funding is available for short-term travel for scholars whose research projects require study of materials outside the United States, enabling scholars to:

  • Discover new primary source material;
  • Experience works of art first-hand in museums and private collections;
  • Make contact with artists, critics, art dealers, archivists, curators, and university scholars;
  • Consult archives and library collections outside the US;
  • Establish professional networks for future research.

Applications are due Jan. 15, 2017.
Grants will be awarded to doctoral students as well as postdoctoral and senior scholars.

For more information, go to the Terra Foundation’s website.

CFP: “Refracting Abstraction” symposium @ Stanford University, Jan. 27-28, 2017 | deadline Oct. 3, 2016

The Anderson Collection, Standford University

Photo (2014): Tim Griffiths at Stanford News

The discussion around what constitutes the boundaries of Abstract Expressionism continues to recur despite decades-long attempts by revisionists. Most provocatively, Ann Gibson’s Abstract Expressionism: Other Politics (1997) demonstrates how women, artists of color, and queer artists were systemically left out of the canon. Two decades later, it has become de rigeur to call for the addition of these artists into exhibitions, but academic scholarship has lagged. Jackson Pollock, Clyfford Still, Mark Rothko, Willem de Kooning, and Franz Kline remain the familiar anchors of Abstract Expressionism. Here at Stanford, The Anderson Collection showcases important works by the above-mentioned names yet there are many artists not currently a part of our permanent collection whose involvement in the movement has been omitted from the oft-repeated narratives of the period.

We celebrate the recent focus on women, on cultural inclusivity, on gender expansive dialogues and the move to allow a spectrum of identifications. The museum takes this opportunity to look in depth at black artists working abstractly at mid-century as a case study in order to nurture the growing scholarship in this area. How did the art praxis of African-American artists intersect with the overall Abstract Expressionist movement? How does African-American cultural production continue to undergird key fundamentals of mid-century abstraction? There were black Abstract Expressionists of both the first and second generation. Some showed at top-notch galleries associated with the Abstract Expressionist movement—Romare Bearden at Kootz Gallery and Norman Lewis at The Willard Gallery. Others such as Peter Bradley had advocates in the often denigrated figure of Clement Greenberg. This symposium aims to make visible these intertwined narratives in order to explore how blackness and the Abstract Expressionist movement have been tethered all along; but more often than not, their periodic overlapping aims tend to move between invisibility and hypervisibility depending on the needs of a public.

With a variety of programming over a two-day period, the Anderson Collection will work with scholars, professors, artists, musicians, collectors, and performers to open these topics up to wide discussion. The symposium will feature a keynote speaker, workshops, a live performance, and a conversation with contemporary black artists working in abstraction.

 

The two-day symposium is planned for January 27 and 28, 2017 at the Anderson Collection at Stanford University.

 

Interested participants are invited to submit an abstract of no more than 350 words along with a CV to andersoncollection@stanford.edu by October 10, 2016. Accepted participants will be notified by November 7, 2016. Presenters are invited to give papers suitable for 15- to 20-minute time slots.

The Anderson Collection at Stanford University is a world-class museum built around a permanent collection of 121 modern and contemporary American paintings and sculptures by 86 artists. As a center for research, scholarship, and appreciation of post-war and contemporary American art, the Anderson Collection works exemplify pivotal movements in modern art: Abstract Expressionism, Color Field Painting, Bay Area Figuration, California Light and Space, among others.

 

Organized by:

Andrianna Campbell, Doctoral Candidate, The CUNY Graduate Center

Jason Linetzky, Director, Anderson Collection at Stanford University

Aimee Shapiro, Director of Programming and Engagement, Anderson Collection at Stanford University

 

Collaborators include:

Jeff Chang, Executive Director, Institute for Diversity in the Arts, Stanford University

Richard Meyer, Professor of Art History, Department of Art and Art History, Stanford University

Alex Nemerov, Department Chair, Department of Art and Art History, Stanford University

ISCP Dedalus Foundation Artist Residency: Call for Applications

Deadline Oct. 15, 2016

JOB: Tenure-track, History of African-American Art @ School of the Art Institute of Chicago | DEADLINE 01/04/2017

FULL-TIME FACULTY IN ART HISTORY, THEORY, AND CRITICISM

The Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago (SAIC) invites applications for a full-time, tenured or tenure track faculty member to begin in August of 2017.

This position is for a historian of African American Art with additional expertise in methodologies, theories, and historiography. Preference will be given to scholars who study the diverse forms and communities of African-American art, and who can demonstrate familiarity with issues of diaspora, migration, and networks of global exchange. This faculty position will play a role in the department’s continued expansion of the intellectual conversation of the field of art and design history at SAIC.

A substantive record of scholarship is expected of senior candidates, as is the promise of continued publication and research output for all applicants.

Rank and salary are competitive with peer institutions and are commensurate with level of practice, scholarship, and current academic research, extent of teaching experience, and current professional standing.

The ideal candidate will contribute to the diversity of the School by bringing a perspective, way of thinking, and/or a unique set of experiences that expand the intellectual conversations in the field.

PROGRAM PROFILE

The Department of Art History, Theory, and Criticism, one of 23 departments at the school, is comprised of sixteen full-time art historians specializing in modern and contemporary art and design. Together with 50 part-time faculty, the department currently offers 225 courses, and mentors 30 dedicated MA in Modern and Contemporary Art History students, undergraduate students pursuing a dedicated BA in Art History, and dual-degree graduate students earning an MA in Arts Administration and Policy in conjunction with their MA in Art History. Further information can be found at http://www.saic.edu/academics/departments/arthi/

RESPONSIBILITIES

The successful candidate will contribute to the Department of Art History, Theory, and Criticism’s MA and BA programs in Art History, providing undergraduate courses, graduate seminars, and master’s thesis supervision. The candidate will also be an active participant in the education of studio artists, designers, architects, and arts professionals at the MFA, MA and BFA levels and will contribute to the vibrant and creative culture of a research-oriented department in a prestigious art school. Applicants must demonstrate a commitment to research, publication, and outstanding teaching. The successful candidate must be capable of performing administrative duties, and provide vision and direction as the department chair on a rotating basis.

QUALIFICATIONS

Ph.D. or ABD is required, some teaching experience preferred for junior candidates. Senior candidates must show evidence of substantial teaching experience. Evidence of on-going research and continued publication trajectory expected. Rank and salary are competitive with peer institutions and are commensurate with quality of scholarship or practice, extent of teaching experience, and current professional standing. Full-time faculty are awarded a twelve-month contract with benefits.

APPLICATION PROCEDURES

By or before Wednesday, January 4, 2017 please submit application materials at http://SAICfaculty.slideroom.com. You will be asked to create an account after which time you may complete the application comprised of fill-in fields and uploaded documents. SAIC will underwrite the application fees; you will not be charged to apply for the position. You are encouraged to begin the application well before the deadline. No applications may be submitted beyond the deadline for any reason.

Complete the fields for: educational background; current position; and contact information for three professional references.

Please convert all word documents into PDFs before uploading. Required files to upload include: cover letter stating interests and qualifications; curriculum vitae; and writing samples (combined maximum of 30 pages).

QUESTIONS

Questions regarding the School and its open positions, application procedures, or the search process may be emailed to saicteach@saic.edu. Please consult http://www.saic.edu for information on the School and its programs, or go to:

http://www.saic.edu/about/jobsatsaic for open positions and application procedures.

ABOUT SAIC

A leader in educating artists, designers, and scholars since 1866, the School of the Art Institute of Chicago (SAIC) offers undergraduate, graduate, and post-baccalaureate programs to students from across the globe.

Located in the heart of Chicago, the School is one of the largest and oldest private schools of art and design in the country with programs reflecting current practices in art. SAIC’s educational philosophy is built upon a trans-disciplinary approach to art and design that provides unparalleled opportunities for students to develop their creative and critical abilities with renowned faculty who are leading practitioners in their fields.

SAIC’s resources include the Art Institute of Chicago and its Modern Wing, and numerous special collections and programming venues that provide students with exceptional exhibitions, screenings, lectures, and performances. The campus is located on Chicago’s magnificent lakefront amid the city’s cultural and architectural treasures.

The School currently enrolls 3,590 students in 15 studio departments and 8 academic departments. There are 153 full-time tenured or tenure-track faculty and visiting artists, and 693 adjunct and part-time faculty supported by 300 staff.

Degree tracks include the Bachelor of Fine Arts (BFA) in Studio; BFA with Emphasis in Art Education or Writing; BA degrees in Art History and in Visual and Critical Studies; Master of Architecture; Master of Design (MDes) in Designed Objects; MDes in Fashion, Body, and Garment; MFA in Studio or Writing; MA degrees in Arts Administration; Art Education; Modern and Contemporary Art History; Art Therapy; New Arts Journalism; Teaching; Visual and Critical Studies; and a Master of Science in Historic Preservation.

EOE

The Art Institute of Chicago, including both the school and the museum, is committed to providing an inclusive and welcoming environment for its students, visitors, faculty, and staff, and to ensuring that educational and employment decisions are based on an individual’s abilities and qualifications. The Art Institute of Chicago does not tolerate unlawful discrimination based on race, color, sex, religion, national origin, disability, age, sexual orientation, gender identity, military or former military status, or any other status protected by federal, state or local law, in its programs and activities, public accommodations or employment practices. The following individuals have been designated to handle inquiries regarding the non-discrimination policies:

Title IX Coordinator

Michael Nicolai, Vice President for Human Resources, Human Resources Department, 116 S. Michigan Ave., suite 1200 Chicago, IL 60603, 312.629.9411, mnicolai@saic.edu

Section 504 Coordinator

Felice Dublon, PhD, Vice President and Dean of Student Affairs, The Office of Student Affairs, 36 S. Wabash Ave., suite 1204, Chicago, IL 60603, 312.629.6800, fdublon@saic.edu.

For further information on notice of nondiscrimination, see the Office for Civil Rights Discrimination Complaint Form for the address and phone number of the office that serves your area, or call 800.421.3481.

CFP: Smack Mellon Call for emerging curators. Deadline: Sept. 1, 2016 — The Curator Ship

Proposals are accepted annually from Emerging Curators for the Emerging Artists Summer Exhibition. The Emerging Artists Summer Exhibition will be curated by a selected Emerging Curator and will be made up of Emerging Artists. An Emerging Curator is defined as an independent curator who is beginning their career as a curator. Proposal must show history […]

via Smack Mellon Call for emerging curators. Deadline: Sept. 1, 2016 — The Curator Ship