Applications are invited for the Terra Foundation for American Art Visiting Professorship for the 2021/22 academic year at Oxford University. This post, which is generously funded by the Terra Foundation for American Art, will be based in the History of Art Department (which is part of Oxford’s History Faculty) and is offered in association with a Visiting Fellowship at Worcester College.
This post provides an exciting opportunity to build on long-term research networks, encourage international collaboration, and inspire a new generation of American art academics and curators by further embedding the subject into Oxford’s research communities and its graduate and undergraduate curricula. The successful candidate will engage in advanced study and original research in the history of American art, give a series of four public lectures, and organise a study day. They will also teach one undergraduate and one graduate course, supervise a small number of Master’s theses, and contribute to the Department’s general teaching and administration.
The successful candidate will hold a doctorate and teaching experience in a relevant field, have a strong research record and/or research potential with a reputation as an international authority within the specialism and a publication record at a standard that will contribute to and enhance the national and international profile of the History of Art Department and History Faculty.
Applications are particularly welcome from women and black and minority ethnic candidates who are under-represented in academic posts in Oxford.
The post is fixed term for 12 months (or until 31 August 2022 whichever is sooner). The deadline for applications is 12 noon (UK time) on Friday 11th December 2020. Interviews are expected to take place via Microsoft Teams at the beginning of January 2021.
For Valentine’s Day, EL is part of the conversation on The View Here’s her Cupid Caught In A Trap (1872-76) SAAM
via Edmonia Lewis on The View — VARIETY . SPICE . LIFE
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
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.