For Valentine’s Day, EL is part of the conversation on The View Here’s her Cupid Caught In A Trap (1872-76) SAAM
Giovanni Battista Piranesi. Awarded an NEH grant for 2019-2021 from the Division of Preservation and Access, The Digital Piranesi (digitalpiranesi.org) is based at the University of South Carolina (Columbia), where the Irvin Department of Rare Books and Special Collections owns a rare full 29-volume set of Piranesi’s complete works. Our project aims to make this interdisciplinary material accessible in a complete digital collection and, in an interactive digital edition, to illuminate and enact many of the graphic features of his innovative designs. A Ph.D. in a relevant discipline (including but not limited to Art History, History of Architecture, Classics, Comparative Literature, European History, Italian, Library and Information Science) is required to start work.
Please direct any questions to project PI Jeanne Britton: email@example.com
For the official job ad, and to apply, please see:
The Smithsonian American Art Museum seeks an outstanding emerging scholar of American art for a curatorial fellowship funded by the Henry Luce Foundation. Beginning in fall 2019, 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 an experienced curator and in collaboration with a team of staff from various departments on a major project. The appointee will develop practical skills in all four areas of curatorial practice: research, 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.
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 and current curatorial initiatives:
- Sculpture: SAAM holds the largest collection of American sculpture in the world with deep strengths in 19th- and 20th-century bronze and marble sculpture and key holdings in works by Hiram Powers, Edmonia Lewis, Paul Manship, and Luis Jiménez. The fellow will work closely with the curator of sculpture to develop a major collections-based project and book tentatively titled, “Skin Deep: Race and American Sculpture.” This research project aims to use sculpture, with its intrinsic and enduring ties to the body, as a tool for charting shifting attitudes on race in American public life.
- 20th-Century Art: The museum’s rapidly expanding holdings include in-depth collections of painting, photography, graphic art, Latinx art, African American art, sculpture, and time-based media. The fellow will work closely with SAAM’s curator of 20th-century art on research and planning for the reinstallation of the museum’s 20th-century collections. This project aims to articulate collection strengths as well as amplify the presentation of art and artists currently under-recognized within the museum’s holdings, including conceptual, performance, and feminist artists, as well as women and artists of color. The curatorial fellow will be a full member of the curatorial team planning the larger reinstallation and reinterpretation of the museum’s permanent collections.
Application deadline July 15, 2019. Read more about the fellowship and how to apply here: https://americanart.si.edu/about/careers/luce-curatorial-fellowship
If you’re in New York for the College Art Association’s annual conference, check out:
*Wednesday, February 13, 2019 / 8:30 AM – 10:00 AM
Title: State of the Art (History): Engaging Difficult Topics In And Out Of the Classroom
Location: New York Hilton Midtown – 3rd Floor – Trianon Ballroom
Chair: Parme P. Giuntini, Otis College of Art and Design:
*Saturday, February 16, 2019/2 PM – 3:30 PM
Title: Faculty Inclusivity: A Way Forward
Location: New York Hilton Midtown – 2nd Floor – Sutton South
Co-chairs: Flora Brooke Anthony, Kennesaw State University; Nicole De Armendi, Converse College
*Saturday, February 16, 2019 / 10:30 AM – 12:00 PM
Title: CAA Open Forum on Diversity and Inclusion–
Location: New York Hilton Midtown – Concourse – Concourse B
Panelists: Julie L. McGee, University of Delaware, Roberto J. Tejada, University of Houston, Jim Hopfensperger, Western Michigan University and Hunter O’Hanian, College Art Association
The National Gallery of Jamaica was deeply saddened by news of the passing of our colleague, the scholar, curator and activist, Dr Donna McFarlane O.D. last week.
A true visionary, Dr McFarlane was the first Director/ Curator of our sister museum Liberty Hall: Legacy of Marcus Garvey. In Garvey’s time, the Liberty Hall was a meeting place for the Universal Negro Improvement Association and African Communities League (UNIA-ACL). The property hosted a range of cultural and intellectual programmes in its heyday. Eventually the property left UNIA hands and was owned by several individuals until it was purchased by the Government of Jamaica, through the Heritage Trust and declared a National Monument in 1987. Always a passionate advocate for civil rights and African and Diasporic empowerment; Dr McFarlane had returned to Jamaica after completing her Bachelor’s Degree in Political Science and Masters in Developmental Economics. She…
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From the NYTimes online site, accessed Jan. 3, 2018
The headline in the online version of a Jan. 2 NY Times story is an interesting twist from the way the same article is presented in the today’s print issue: the latter, which cites the byline of Cady Metz, “She Could Be a Star, if She Existed.” (The online version’s header is “How and A.I. ‘Cat-and-Mouse Game’ Generates Believable Fake Photos.”)
There’s certainly a lot going on here: for visual studies scholars and art historians, A.I. research that converts “images of horses into zebras and Monets into Van Goghs” is another visual turn, one that exceeds the predictions of Benjamin and Malraux. Then, there’s the interest in “truth” versus “falsity” as scientists develop generative adversarial networks that can “generate faux images and doctor the real thing” by putting words in the mouths of videoed speakers.
One scientist’s assessment of current research made me think about the ways in which bodily statements, representations, and recognitions are patterning strategies that animals rely on; we humans read race and other differentiating traits based on groupings to construct homogeneity and heterogeneity. Durk Kingma, whose work is funded by Tesla’s Elon Musk, is excited about the Finnish commuter chip maker Nvidia’s breakthrough technology. Kingma’s published remark: “We now have a model that can generate faces that are most diverse and in some ways more realistic than what we can program by hand.” Nvidia’s maximizing and extending diversity beyond what is experienced in everyday life is a viewed as a public good.
The marketing of diversity is not only significant because it demonstrates that paragon appearance–at least right now–is kinda Jennifer Aniston-y, kinda Selena Gomez-y. It’s also that “diversity” can be produced on the surface. These efforts are designed to desegregate representational fields and to integrate different bodies into them. What is produced is the look of diversity, fairness, equity, and justness. As Machiavelli wrote, appearance is more important than reality.
Discussions of visuality are more necessary than ever.
PRIMARY FUNCTION(S): Oversee, steward, and develop SCMA’s collection of American and European paintings and sculpture made before 1950.
DUTIES AND RESPONSIBILITIES:
Serve as an intellectual authority on, and assume a full range of curatorial responsibilities for, the Museum’s activities related to paintings and sculpture made before 1950. Responsible for the installation, interpretation, documentation, and growth of the collection of paintings and sculpture; proposing and executing temporary exhibitions as well as serving as an in-house curator for traveling exhibitions from other institutions; initiating research on acquisitions, loans, and the permanent collection; fielding public inquiries; representing the department on Museum and College committees.
Work within a team environment, and supervise project-based research assistants and student interns. Promote dialogue, engagement, and collaboration both within the Museum and beyond. Work with SCMA’s senior leadership to cultivate prospective donors, foundations, and related entities to support the activities of the department as well as the growth of the collections.
Education/Experience: Master’s degree in art history or a closely related field plus a minimum of three years of collection-based curatorial experience or an equivalent combination of education/experience; Ph.D. in art history preferred.
Skills: Independent and self-directed, with the ability to take initiative, anticipate actions needed, and to exercise discretion and independent judgment. Excellent interpersonal and organizational skills. Demonstrated ability to be an effective collaborator both within the Museum and the larger College community. Demonstrated ability to communicate effectively to diverse audiences. Proven record of scholarly research and knowledge of the history of European or American paintings and sculpture 1800 to 1950. Demonstrated ability to manage multiple tasks, set priorities, and meet deadlines
Smith College is an EO/AA/Vet/Disability Employer
Cesare Lombroso, “Epileptics,” from L’homme Criminel (Paris, 1887), photo here.
After reading an article in which the ideas of Cesare Lombardo, aka “The Father of Criminology,” were used to shape anti-Italian US immigration policies in the 1920s, I found that the mug shot is back. It’s not just Tiger Woods’. Check out: “Innocent Until Your Mug Shot Is on the Internet.”
Image by Alex Tatusian/The Marshall Project from NY Times, 6/3/2017.