The Department of Art & Visual Culture at Spelman College invites applications for a tenure-track Assistant Professor in Photography to begin August 2019.
The appointment requires a 3/3 teaching load, including introductory and advanced level of photography courses. Applicants should demonstrate skills in digital imaging/print-related technologies as well as the ability to teach Digital 2D Foundations (Adobe Creative Suite). The ideal candidate should have the ability to teach History of Photography as a part of the new Atlanta University Center Collective for Art History & Curatorial Studies and assist with building the new Photography program.
Responsibilities include teaching and mentoring undergraduate students in both the art and photography program, maintaining a well-articulated creative research/scholarship, service to the department and the college, and contributions to the overall mission of Spelman College.
The Department of Art & Visual Culture is part of ARTS@Spelman, which also includes the departments of Theater & Performance, Dance Performance & Choreography, Music, the Digital Moving Image Salon, the Museum of Fine Art and the Spelman College Innovation Lab. The College is planning a new innovation and arts building, which will be an interdisciplinary environment that supports and advances experimentation, collaboration, active play, research and the imaginative use of digital technologies.
Position: One-year Lecturer appointment in the field of American art and visual culture (colonial to contemporary), beginning August, 2019. Candidates with an emphasis in African American, Latinx, Native American, or Asian American art history are encouraged to apply.
Responsibilities: Candidates should be prepared to teach three courses per semester, including one section of the Introduction to Art History survey, specialized undergraduate classes, and/or a graduate seminar in the applicant’s field of expertise.
Salary: Competitive and commensurate with qualifications and experience.
The School: TCU’s School of Art is a NASAD-accredited program that offers the B.A. and M.A. in Art History. TCU maintains a close working relationship with the art museums in the area, especially the Amon Carter Museum of American Art, Dallas Museum of Art, Kimbell Art Museum, Modern Art Museum of Fort Worth, and Sid Richardson Museum.
The University: TCU is dedicated to an inclusive learning community and actively seeks applications from diverse candidates with the mission to educate individuals to think and act as ethical leaders and responsible citizens in the global community. TCU is a progressive, independent non-sectarian university that strongly supports freedom of expression and critical inquiry. TCU is a Category I Independent institution with a stable enrollment of approximately 10,000 students. The university offers over 100 undergraduate areas of study, 58 master’s level programs, and 25 areas of doctoral study. TCU employs 588 full-time faculty and approximately 90% hold the highest degree in their discipline. TCU is located in Fort Worth, Texas (the 15th largest city in the US with a population of approximately 854,000), a city of rich cultural endowments including world-class museums and performing arts facilities. The city is part of the greater Dallas-Fort Worth Metroplex of 6.7 million people and is served by the DFW international airport. For the past 8 consecutive years, TCU has been recognized by The Chronicle of Higher Education’s 2018 “Great Colleges to Work For”.
- Ph.D. or A.B.D. in Art History; or American Studies, African American Studies, Africana Studies, Latin American Studies, or Asian American Studies with an emphasis in visual culture.
- Ability to support the University’s commitment to diversity, equity and inclusion is required.
- Preference will be given to candidates with college-level teaching experience.
Applications should include a cover letter; a one-page teaching philosophy that details a commitment to diversity, equity, and inclusion; a c.v; and three letters of recommendation, which can be emailed directly from the reviewer or dossier service to firstname.lastname@example.org.
Review of applications will begin February 1, 2019, and the position will remain open until filled.
TCU encourages applications from diverse candidates and is dedicated to an inclusive learning community. As an AA/EEO employer, TCU recruits, hires, and promotes qualified persons in all job classifications without regard to age, race, color, religion, sex, sexual orientation, gender, gender Identity, gender expression, national origin, ethnic origin, disability, genetic information, covered veteran status, or any other basis protected by law.
Founded in 1861 as one of the earliest women’s colleges (and the first to become co-educational in 1969), the College opened its doors with both an art gallery and an observatory, signaling Vassar’s enduring educational philosophy of sending students “to the source.” Today’s Art Center, designed by Cesar Pelli, is an accredited modern museum whose collections originated with a superb acquisition of Hudson River School paintings at the College’s inception. Between then and now the collection has grown to more than 21,000 works, charting the history of art from Ancient Egypt to the present, and featuring important examples of modern and contemporary painting, sculpture and photography as well as Old Master paintings and works on paper. A locus for encounters with original works of art, the museum is an engine for experimentation that inspires student and faculty research projects in and beyond art history, while fostering connections across all academic disciplines from the humanities to the sciences. Its purpose is to elicit the excitement of discovery, to promote critical and creative thinking, to deepen visual literacy, and to foster in students a full sensorium of intellect and emotion in order to expand imagination and openness to the world around them.
As the public face of the Art Center and leader of an excellent staff, the Director represents Vassar and the Art Center to patrons and partners nationally and globally, is responsible for stewarding and strengthening the assets of the Art Center by judiciously acquiring new works and encouraging significant gifts and bequests to the collection, and encourages a working environment that empowers both innovation and collaboration.
Vassar College: Tenure Track Position in Architectural History and Urban Studies
The Department of Art at Vassar College, in collaboration with the Urban Studies Program, invites applications for a tenure-track faculty position in architectural and urban history at the level of Assistant Professor to begin in the 2019-20 academic year.
Vassar College is an affirmative action and equal opportunity employer with a strong commitment to increasing the diversity of the campus community and the curriculum, and promoting an environment of equality, inclusion, and respect for difference. 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 from groups whose underrepresentation in the American professoriate has been severe and longstanding are particularly encouraged to apply.
We seek an innovative historian of modern and contemporary architecture and urbanism with a transnational, diasporic, and/or global approach.
The successful candidate should preferably have a Ph.D. in architectural history or allied field in hand at the time of appointment. The successful candidate will teach courses on architectural history at all levels of the art history curriculum. These courses should encompass global perspectives on architectural design, urban planning, and theory. The candidate will also teach one course a year within the multidisciplinary Urban Studies Program.
Vassar is a highly selective, coeducational liberal arts college of about 2,500 undergraduates located in the Hudson Valley seventy-five miles north of New York City. Faculty are expected to teach broadly in the curricula of their departments and/or programs, advise students, and serve on college-wide and departmental committees. The College has a generous leave policy, provides strong support for research, and encourages multidisciplinary approaches to teaching.
To apply, please visit employment.vassar.edu/applicants/Central?quickFind=52643 to link to the posting for this position. Candidates should upload the following: cover letter; curriculum vitae; graduate school transcripts (unofficial copies are acceptable for the initial application); statement of teaching experience, interests, and philosophy; and a diversity statement highlighting contributions to and/or future plans for promoting diversity and inclusion through teaching, research and/or professional involvements. Additionally, please submit a sample of scholarly writing, and arrange, with referees, for submission of at least three letters of recommendation to the above site.
Information on employment policies may be found in Vassar’s Faculty Handbook.
Review of applications will begin on December 14, 2018 and will continue until the position is filled. If feasible, interviews will be scheduled at the annual meeting of the College Art Association, in New York City, in February 2019.
Please direct questions regarding the position or application process to Lisa Gail Collins, Chair, Department of Art (email@example.com).
Assistant Professor: Arts of the Americas (Modern and Contemporary)
University of Michigan
The Department of the History of Art at the University of Michigan invites applications for a full-time, tenure-track assistant professor position in the Arts of the Americas, modern and contemporary, beginning in September 2019. This is a university year appointment. A PhD is required prior to appointment. Broadly conceived, the position may be filled by persons working in any of the following fields: African-American, African Diaspora, Latin American, and/or Native American art; possible methodological lenses include, but are not limited to, critical race studies, gender theory, performance studies, and/or critical museum studies. The successful applicant will be asked to develop a range of undergraduate and graduate courses, to supervise doctoral dissertations, and to participate actively in the life of the department. The appointee will be welcomed into a large university community that encourages interdisciplinary dialogue and is committed to the core values of diversity, equity, and inclusion. Applicants should provide a cover letter, CV, statement of current and future research plans, statement of teaching philosophy and experience, evidence of teaching excellence, and a writing sample. These materials and three letters of reference should be uploaded via Interfolio (https://apply.interfolio.com/53831). If you have questions regarding the position, please contact Jessica Pattison (Executive Secretary, U-M Department of the History of Art) at (734) 615-8453 or firstname.lastname@example.org. The deadline for submission is November 1, 2018. The University of Michigan is an equal opportunity/affirmative action employer and is supportive of the needs of dual career couples. Women and minority candidates and scholars demonstrably committed to working with diverse student populations are encouraged to apply.
A PhD is required prior to appointment.
Employer will assist with relocation costs.
About University of Michigan
The mission of the University of Michigan is to serve the people of Michigan and the world through preeminence in creating, communicating, preserving and applying knowledge, art, and academic values, and in developing leaders and citizens who will challenge the present and enrich the future.
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: email@example.com. 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.
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: firstname.lastname@example.org.
Deadline for proposals: May 15, 2018
Deadline for papers: December 31, 2018