The Grapevine

CFP: Black and Queer, Music on Screen, liquid blackness

liquid blackness: journal of aesthetics and black studies 7, no. 1, Spring 2023

Co-edited by Ïxkári Estelle, James Tobias (Sync: Stylistics of Hieroglyphic Time), Stefan Torralba, and Calvin Warren (Ontological Terror: Blackness, Nihilism, Emancipation)

This special issue of liquid blackness: journal of aesthetics and black studies proposes to work on Black Queer expression in audiovisual musics cutting across histories of the avant-garde, popular audiovisuality, and frameworks both transnational and critically transhistorical. The goal of the issue is to set up the framework for a survey of Black and Queer musicality in audiovisual media so as to suggest “non-contemporaneous” dialogues between and across historical registers and media platforms, so that the critical expressive power of non-conforming persons of color become a given rather than an alibi, an absence, or a projection.

From early sound cinema to the present, queer or gender non-conforming black artists have voiced a complex series of claims, propositions, demands, and desires, from the introduction of sound to the cinematic screen to the introduction of social media video in networked digital cultures. Black feminist and queer scholarship has often engaged with the meanings and powers expressed in these works, or in musical artists indebted to them or referencing them, from Angela Davis’ reading of transformations of historical memory in Smith’s St. Louis Blues (Blues Legacies and Black Feminisms), to Lindon Barrett’s study of Billie Holiday (Blackness and Value), to Saidiya Hartman’s discussion of errancy in relation to woman-identified women singers in the early years of recording (Wayward Lives, Beautiful Experiments), and DaphneBrooks’ recent reading of black women’s use of arrangement, sonic curation, and blackness as technology (Liner Notes for the Revolution) in articulating a politics of being and becoming. Working through postcolonial, decolonial, diasporic, and critical ethnic studies’ critical innovations, we may productively identify discontinuities in terms of technical medium and mode of distribution, from film short, to soundie, to Hollywood musical set piece, to film promotional clips, music television clips, and music video made for social media. At the same time, we will also observe the ways in which concepts like Sharpe’s “wake work,” “fugitivity” in Moten’s critical aesthetics, “opacity” in Fleetwood, Browne, or Musser, “boiz” or non-normative sex-gender identities in Harris, the expressive technics of “queer OS” in Keeling, or “ontological terror” in Warren – only a few of potentially generative formulations appearing in recent Black Study – may help gloss the gestures, meanings, and forces at work in black queer voice in technical mediation. How may we read the histories and futures of audiovisual musicality in these terms, given the dynamic work of artists over the last decade ranging from, say, Zebra Katz to Janelle Monae, Odd Future et. al., Mykki Blanco, Moses Sumney – and many more, too numerous to list here?


Black and Queer, Music on Screen seeks to redress a grave limitation in current scholarship. Typically, attention to medium and historical specificities in studies of onscreen musicality have so prioritized the form/medium problem in cinema, video, or digital media studies, such that attention to “film,” “video,” or “digital” formats pre-empts the observation of continuities or conversations across historical periods or transitioning media. One result is that even as black and sex-gender non-confirming subjects are “rediscovered” in “early sound film,” black and sex- gender non-confirming innovations in later moments and in the contemporary moment are cordoned off from one another, safely consigned to some futural fate of what will be a belated rediscovery, or held apart as “alternatives” to the dominant rather than continuing a long- standing historical critique.

While the disciplinary preoccupations of cinema and media studies with regard to medium specificity and period have made it unlikely that concerns and problems expressed in the technical mediation of Black Queer voice as musical expression to surface as primary problems in cinema and media studies, nevertheless, some of the most affecting and influential works of artist cinema – Julien’s Looking for Langston, for example – have clearly problematized and made substance of these aesthetic and political histories, as well as their deferral in the culture industries and in the academy alike. This special issue calls for critical work centering both historical and recent upsurges in the aesthetic and critical powers of Black and Queer musical expression on screen. What happens when we understand, as Bey (2020) has argued, “the history of blackness as a history of disruption,” so that disrupting racializations along with sex-gender non-conformance become productive of the labor animating audiovisual music’s meaning and effects?

Finally, we ask, what does the sound, voice, or gesture of radical ethical demand feel like when it hits the poetics and aesthetics of the musical screen? What revolutions, in other words, in retrospect and in theory, can we understand to have in fact been sung, danced, and thus enjoined once we align the relevant critical frameworks and exemplars, so that the limits and obstacles to a larger historical and theoretical understanding of expressive queer black gesture are removed?

Topics List
• Black queer practices of exceeding and disabling technology in the form of musical, audiovisual technics• Archival recovery, fictive archiving, and critical fabulation of the archive through voice, sound, music, and musical audiovisuality• Hemispheric and triangular kinships of Black queer media as musical counter-positions within the Americas• Productivities and problematics of Black queer practices enabling “queer of color” expression• The politics of citation, reference, and allusion in Black queer musical media practices• Transmedia musical imaginaries, ethics, and aesthetics• Surprising transnational circuits of visual imageries and performance practices, that is, audiovisual treatments of the Black Atlantic or the Black Pacific• Musicality, voice, and sound informing counterintuitive or counterhegemonic readings of popular Back queer media• Digitality, diaspora, musicality• Soul as reason: re-thinking the place of affect as paralinguistic rhetoric of critique, community, or desire • “Dirty” computing, musical freakdom, and the gestural paragrammatics of collective self- fashioning• Musicality and remembrance as transformation of collective memory, in Black musical film more generally, in addition to Blues women’s recordings.• Afro-Historicisms, Afro-Futurisms, or Afro-Pessimisms on the musical screen• Shouts and whispers on screen: historical claims and rhetorics in Black audiovision• Cool, hot, noise: style on the musical screen• Analytics of track, mix, and edit on screen as homologies of self-fashioning and collective movement• Ad hoc surrealisms, absurdisms, anti-realisms: musicality as fugitivity• Generational non-contemporaneity: Black voice carrying over and beyond period and across medium 

Submission Due: January 15, 2022 (send to journalsubmissions@liquidblackness.com)

Author Guidelines & Submission Information• Submission Types:• Traditional essays: approx. 3-5,000 words (including footnotes)—all essays should be accompanied by at least one image• We welcome submissions of interviews, visual and textual art, video, and other artistic work• Questions about the length, style, format of experimental submissions can be directed to journalsubmissions@liquidblackness.com• liquid blackness follows the formatting and reference guidelines stipulated by The Chicago Manual of Style• All submissions, solicited and unsolicited, will be peer-reviewed• Media Specifications• We welcome the submission of media files such as video or sound clips, which will be published as supplementary data. The following audio and video file types are acceptable as supplementary data files and supported by our online platform:.mp3, .mp4, .wav, .wma, .au, .m4a, .mpg, .mpeg, .mov, .avi, .wmv., html.• Executable files (.exe) are not acceptable.• There is no restriction on the number of files per article or on the size of files; however, please keep in mind that very large files may be problematic for readers with slow connection speeds.• Please ensure that each video or audio clip is called out in the text of the article, much like how a figure or table is called out: e.g., “see supplementary audio file 1.”

—About liquid blackness
• liquid blackness is an open-access journal, which means that all content is freely available without charge to readers or their institutions.• Our Editorial and Advisory Boards 

Mission Statement
The liquid blackness journal seeks to carve out a place for aesthetic theory and the most radical agenda of Black Studies to come together in productive ways, with a double goal: to fully attend to the aesthetic work of blackness and to the political work of form. In this way, the journal strives to develop innovative approaches and analytic tools to address points ofconvergence between the exigencies of black life and the many slippery ways in which blackness is encountered in contemporary sonic and visual culture.

liquid blackness aims to establish a point of exchange at the intersection of multiple fields. The history of this intentionally undisciplined space is best understood through a series of questions pivoting around (1) the relationship between aesthetics and the ontology of blackness and (2) the generative potential of blackness as an aesthetic. If blackness is, as we argue after Fred Moten, an unregulated generative force, then the liquid blackness journal seeks to offer a dedicated space where it can be consistently unleashed. As we extend and confront lines of inquiry from a number of research fields, our approach is equally concerned with theoretical content, analytical methods, and scholarly praxis.

JOB: Asst Prof African American / African Diaspora Arts @ NYU

Description 

The Department of Art History at New York University seeks applications for a full-time, tenure-track, Assistant Professorship in African American or African Diasporic arts. We invite applicants working in any period and on any area, broadly understood, of visual arts, material cultures, and/or the built environment. Scholars who focus on interhemispheric and global connections are especially welcome to apply. Additionally, evidence of a commitment to advancing equity and inclusion through research, teaching, and/or service will be valued.

The position carries with it an associate appointment at the Institute of Fine Arts. The appointee will teach four courses each academic year: three undergraduate courses in the College of Arts and Science (consisting of a mix of core curriculum courses, departmental surveys, and advanced courses) in the candidate’s area(s) of specialization, and one graduate course at the Institute of Fine Arts. The candidate will supervise undergraduate independent studies and honors theses, and, at the IFA, masters theses and doctoral dissertations.

This position is part of a multi-departmental cluster hire in Black Diaspora Cultural Studies that includes the NYU Arts & Science departments of History and Politics and NYU Gallatin and which may expand to other departments in future years. A primary aim of the cluster is to build a network for scholars working in these areas to collaborate across NYU. More information about this cluster can be found here, along with background about NYU’s broader Faculty Cluster Hiring Initiative.

The appointment will begin on September 1, 2022, subject to budgetary and administrative approval.

Qualifications

Candidates must have completed the Ph.D. by September 1, 2022. Successful candidates will demonstrate excellence in scholarship and teaching. 

Application Instructions

Application deadline is November 30, 2021. To apply, please go to http://apply.interfolio.com/96774

and submit a letter of application (addressed to Prof. Prita Meier, Search Committee Chair), CV, statement of research interest and goals, statement of teaching, and a list of three referees. Diversity is an important part of the NYU mission; in your application letter briefly describe how diversity is part of your pedagogy and, if applicable, research. Information about NYU diversity and inclusion statements may be found at  http://as.nyu.edu/departments/facultydiversity/recruitment/diversity-statements.html.

The Faculty of Arts and Science at NYU is at the heart of a leading research university that spans the globe. We seek scholars of the highest caliber that embody the diversity of the United States as well as the global society in which we live. We strongly encourage applications from women, racial and ethnic minorities, and other individuals who are under-represented in the profession, across color, creed, race, ethnic and national origin, physical ability, gender and sexual identity, or any other legally protected basis. NYU affirms the value of differing perspectives on the world as we strive to build the strongest possible university with the widest reach. To learn more about the FAS commitment to diversity, equality and inclusion, please read here http://as.nyu.edu/departments/facultydiversity.html).

EOE/Affirmative Action/Minorities/Females/Vet/Disabled/Sexual Orientation/Gender Identity.  

CFP: APS Printmaking Workshop For Early-Career Curators and Scholars in New Mexico (May 23-27, 2022)

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 workshops@printscholars.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-19The 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.

JOB: Developmental editors for professional development program, Toward Equity in Publishing

The Smithsonian American Art Museum is accepting  bids to contract developmental editors for Toward Equity in Publishing (TEP), the professional development program launched by the journal American Art and supported by a grant from the Dedalus Foundation. The position entails providing developmental and line editing to TEP author-participants. Each editor will assist 2–4 TEP author-participants, providing up to 40 hours of service to each, not to exceed 160 hours per year. The number of author-participants assigned to each editor will depend on how many developmental editors are contracted by the Smithsonian. Work will commence on or after February 1, 2022, with a possibility to extend for a total of 28 months, depending on satisfactory performance and availability of funds. The closing date for contract bids is November 15, 2021.

To receive the Request for Quotes, Statement of Work, and instructions for submitting the bid, please write to AmericanArtJournal@si.edu.

Prospective contractors are strongly encouraged to enroll in the federal System for Award Management (SAM). The contract cannot be made prior to evidence of the contractor’s active and valid registration in the “all awards” category of SAM.

For further details, please contact the executive editor, Robin Veder, at AmericanArtJournal@si.edu, with your surname and the header “TEP Developmental Editor” in the subject line.

JOB: Adjunct, African or African American @ Brandeis

https://brandeis.wd5.myworkdayjobs.com/en-US/Jobs/job/Brandeis—Waltham-Campus/Lecturer-in-Fine-Arts_R0005037

Brandeis University invites applications for an Adjunct Instructor to teach one introductory survey course in History of African Art or History of African American Art in the Spring 2022 (Jan – May). Either course serves majors in Fine Arts, Art History, and African and African American Studies, as well as students at all levels from across all disciplines in the university. Though offered in the past, we encourage the instructor to design the course as they see fit. Course meets for three hours a week and can be offered remotely. There is some flexibility to the schedule. Applicants should be ABD or PhD in Art History or Black Studies with expertise in African/African American art.

Candidates must submit a letter of interest (2 pages maximum), curriculum vitae, one page teaching statement, sample syllabus for an introductory level History of African Art/African American Art course, and contact information for three references.

Duties and Responsibilities

Adjunct Faculty duties and responsibilities include but are not limited to:

1. providing instruction in accordance with established curriculum, course outlines and class schedules

2. encouraging and maintaining an environment which emphasizes learning, encouraging free discussion of ideas and critical thinking

3. evaluating progress of students concerning educational matters and grading student work

4. meeting with students during office hours maintaining appropriate standards of professional conduct and ethics

5. maintaining current knowledge in the subject matter areas

6. maintaining accurate academic records

7. fulfilling professional responsibilities of a part-time/temporary faculty member

8. maintaining accurate academic records

9. performing other related duties as assigned

This appointment is to a position that is in a collective bargaining unit represented by SEIU Local 509.

Closing Statement

Brandeis University is committed to providing its students, faculty and staff with an environment conducive to learning and working and where all people are treated with respect and dignity. We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, ancestry, national origin, ethnicity, caste, sex, pregnancy, sexual orientation, gender identity/expression, including transgender identity, religion, disability, age, genetics, active military or veteran status and any other characteristics protected under applicable federal or Massachusetts law.

JOB: Asst Prof @ Johns Hopkins

The Department of the History of Art at Johns Hopkins University invites applications for two tenure-track Assistant Professor appointments in Modern Art and Architectural History and Theory. We welcome scholars of the long twentieth century who pursue a critically inflected approach to the period’s global interconnections and engage with the philosophical and historical constructions of and challenges to modernism.

This search will result in two appointments. One will be a specialist in East and/or Southeast Asian modern art, including transnational and Asian American art history. One will be a specialist in any area of modernism, including transnational and diasporic art and architecture.

PhD in the History of Art or related discipline required at time of appointment. Candidates must demonstrate a strong research profile and a commitment to teaching at the undergraduate and graduate levels. Salary is commensurate with qualifications and experience. Candidates should submit a letter of application, a current CV, one article- or chapter-length sample of scholarly writing (published or in press), and three letters of reference. Applicants should state in their cover letter how, through their research approaches, teaching methodology, and/or public engagement, they can contribute to the university’s commitment to diversity, equity, and inclusion. All materials will be submitted online at https://apply.interfolio.com/97142. Review of applications will begin November 21, 2021. For more information about the department, visit http://arthist.jhu.edu. Johns Hopkins is an Affirmative Action, Equal Opportunities Employer and is committed to increasing the diversity of its faculty. It welcomes nominations of, and applications from, women and members of minority groups, as well as others who would bring additional dimensions to the university’s research and teaching missions.

JOB: Asst Prof @ Bucknell

Link: https://jobs.bucknell.edu/en-us/job/496829/assistant-professor-in-nonwestern-art

The Department of Art and Art History at Bucknell University invites applications for a tenure-track position for a specialist in the history of art, architecture, and/or visual culture beginning fall 2022. The department seeks a candidate who demonstrates a strong commitment to undergraduate education. We will be hiring at the assistant professor level. We are interested in candidates who specialize in art produced before 1800 whose scholarship and/or teaching focuses on the arts of one or more of the following: Africa, Asia, Latin America and the Caribbean, the Middle East, or other historically “nonwestern” cultures. The successful candidate will be expected to teach the first half of the two-semester survey of World Art, intermediate and advanced courses in their field of expertise, as well as courses that contribute to the college core curriculum. Such courses will complement our current offerings in modern and contemporary art. We encourage applicants whose research intersects with issues of race, gender, and sexuality.

Mellon Postdoctoral Fellowship/Assistant ProfessorArt and Visual Culture of the African Diaspora @ Occidental

Occidental College invites applicants for a one-year Mellon Postdoctoral Fellowship followed by a tenure-track Assistant Professor appointment in the newly established Department of Black Studies. This search is part of Occidental’s new multi-year Mellon Faculty Diversity Initiative (MDFI), which is synergized with the College’s renewed commitment to equity & justice and an intensified effort to hire faculty whose work focuses on issues of race and/or social justice and whose background, expertise, and experiences will contribute to diversifying Occidental’s faculty. The successful candidate will join the first of three MFDI cohorts with a total of nine postdoctoral positions in the Arts and Humanities. As part of the MFDI program, the members of the cohorts will be provided enhanced mentoring, professional development, and a greatly reduced teaching load. The initiative will help to actively support the study of the life, culture, and history of the African diaspora and to support campus-wide efforts on behalf of equity and justice. The position will begin in August 2022. 

We are seeking a specialist in the art and visual culture of the African diaspora. Candidates should have a Ph.D. in Africana Studies, African American Studies, American Studies, Art History, Literature, Media Studies, or a related discipline. Candidates with expertise in regions outside the continental United States or whose scholarship engages gender, transgender, and sexuality studies are especially encouraged to apply. We are especially interested in candidates with a demonstrated commitment to and potential for excellence in undergraduate teaching; a strong record of scholarly accomplishments appropriate to the level of appointment; experience working collaboratively with colleagues; a demonstrated ability to work effectively with students from minoritized and marginalized social groups; a demonstrated potential for effective integration of technology into instruction; and an ability to balance excellent teaching, scholarship, and service. 

The teaching load during the first year of the postdoctoral fellowship will be 1/1. After one year, the position will convert to a tenure-track assistant professor position with a teaching load of 2/2 in Year 2 of the appointment, and a load of 3/2 thereafter. The successful candidate will teach a mix of first-year, intermediate, and advanced interdisciplinary courses on Black art and visual culture. In addition to teaching interdisciplinary Black Studies courses, the new faculty member will develop and teach up to two courses per year that are cross-listed with the Art and Art History department. They will also have the opportunity to design community-based learning initiatives that deepen the connection between Occidental College and the cultural institutions and diverse residents of the dynamic city of Los Angeles. 

Please submit a (1) cover letter detailing your interest in teaching Black Studies in a liberal arts college environment; (2) curriculum vitae; (3) a research statement that includes a discussion of your current scholarship, plans for future research, and a discussion of how you have successfully balanced scholarly and creative activities with teaching and service; (4) a statement of teaching philosophy that includes a discussion of your demonstrated commitment to, past evidence of, and future plans for creating equitable opportunities for learning and mentoring, especially for underrepresented students and students from marginalized social groups; (5) samples of scholarly work; (6) sample syllabus for one specialty course in Black visual culture studies; and (7) arrange for three references letters to be sent to: blackstudiesvisual@oxy.edu.  The application deadline is December 8, 2021.

For a description of Occidental’s Black Studies Department and its course offerings, please visit our website at: https://www.oxy.edu/academics/areas-study/black-studies

Occidental is a small liberal arts college in the city of Los Angeles, and it is among the most diverse liberal arts colleges in the United States. The normal teaching schedule is the equivalent of five courses per year. Occidental College policies for early career leaves for untenured faculty and sabbaticals for tenured faculty are very generous. The mission of Occidental College is to provide a gifted and diverse group of students with a total educational experience of the highest quality–one that prepares them for leadership in an increasingly complex, interdependent, and pluralistic world. We strongly encourage applications from candidates who will further Occidental’s mission of excellence and equity in their teaching, scholarship, and service.

Occidental College is an Equal Opportunity Employer and does not unlawfully discriminate against employees or applicants on the basis of race, color, religion, sex, sexual orientation, gender identity, gender expression, pregnancy, breastfeeding or related medical condition, national origin, ancestry, citizenship, age, marital status, physical disability, mental disability, medical condition, genetic characteristic or information, military and veteran status, or any other characteristic protected by State or Federal Law. Occidental is strongly committed to increasing the diversity of the campus community and the curriculum, and to fostering an inclusive, equitable, and just environment within which students, staff, administrators and faculty thrive. Candidates who can contribute to this goal through their teaching, research, advising, and other activities are encouraged to identify their strengths and experiences in this area. Individuals advancing the College’s strategic equity and justice goals and those from groups whose underrepresentation in the American professoriate has been severe and longstanding are particularly encouraged to apply. 

Salary is commensurate with experience and qualifications. A comprehensive benefits package is available that includes: excellent health, dental, life, and retirement benefits; tuition benefits for the employee, spouse, domestic partner, and dependents; additional extras including use of gym facilities and the College Library. For a detailed description of benefits, please visit https://www.oxy.edu/offices-services/human-resources/benefits-information.  

We will consider for employment all qualified applicants, including those with criminal histories, in a manner consistent with the requirements of applicable state and local laws, including the City of Los Angeles’ Fair Chance Initiative for Hiring Ordinance. 

Occidental College is committed to working with and providing reasonable accommodations to applicants with qualifying disabilities. If you need a reasonable accommodation because of a disability for any part of the application or employment process, please contact Human Resources (hr@oxy.edu). 

Two Fellowship Opportunities at the Menil Drawing Institute

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:

https://www.menil.org/drawing-institute/scholars

Opportunity: Deputy Director of Programming–Brandywine Workshop and Archives. Applications due by Nov. 1, 2021

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 

Qualifications 

● 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 

Preferred Qualifications 

● 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 

Salary 

Starting annual salary is $70,000. 

Application Instructions 

Please submit a one-page cover letter and resume. Please direct any questions to  Carolyn Lowe, Chair, Search Committee at search@brandywineworkshop.com. 

Hiring Statement 

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)