Curatorial Assistant, Contemporary Art @ Whitney Museum of American Art

A full-time Curatorial Assistant position, reporting to the Nancy and Fred Poses Associate Curator, is available. The incumbent will work on some of the Whitney’s most exciting and challenging contemporary projects, including exhibitions, acquisitions, and publications. A strong interest in contemporary art is essential, and production-oriented experience a plus.

Responsibilities include: assistance in the planning and installation of exhibitions and projects, including management of checklists, schedules, and databases; daily administrative support (telephone, management of the Curator’s calendar; maintenance of records, drafting correspondence, preparation of presentations, travel arrangements, processing invoices, and other general office and clerical duties); scholarly research on artists and acquisitions; preparation and writing of didactic texts; serving as liaison with the Curator’s internal and external contacts, including artists, trustees, donors, scholars, and museum departments such as Conservation, Exhibitions and Collections Management, Publications, and Research Resources.

Job requirements: B.A. in art history (M.A. a plus) and 2 years institutional work history, or equivalent experience; skills related to TMS, Raiser’s Edge, Microsoft Office, Excel, and PowerPoint; outstanding organizational, writing, research, and communication skills, with attention to detail; facility in representing the Whitney at events at the Museum and beyond; ability to handle several projects simultaneously, work well as a member of a team, and meet deadlines.

Please send resume, cover letter and salary requirements to: hr@whitney.org and state “Curatorial Assistant Contemporary” in the subject line.

For more information see http://whitney.org/About/JobPostings

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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

Estamos contra el muro- A project by Sita Kuratomi Bhaumik opening 9.9.2016

A border is, at its core, a mechanism to produce and enforce difference–national, ethnic, racial, and social:

We Against the Wall — exhibition Southern Exposure gallery (San Francisco)

estamoscontraelmuro

Bhaumik’s work is social practice that embraces the political. Its institutional critique intersects with critical race art history’s concerns.

Filmmakers Cheryl Dunye & Dee Rees @San Francisco State University (Sept. 23-24, 2016)

cheryl-dunye

Portrait of Cheryl Dunye (https://apps.chss.sfsu.edu/newsletters/thewatermelonwoman/index.html)

 

Black/Feminist/Lesbian/Queer/Trans* Cultural Production: A Symposium Honoring the 20th Anniversary of Cheryl Dunye’s “The Watermelon Woman”

This symposium honors the 20th anniversary of Cheryl Dunye’s film, “The Watermelon Woman” (1996). The first feature film directed by and starring a black lesbian, the production of this film marked a watershed moment for black cinema, feminist cinema, lesbian cinema, and new queer cinema. Appearing in the heyday of what filmmaker and scholar Yvonne Welbon has called the “golden age” of black queer cinema, the film garnered widespread critical acclaim, and its success inspired many black lesbians to create their own films in the years following. Her latest release, “Black is Blue” (2014) is a critically acclaimed narrative short film that follows the life of a black transgender man in Oakland, California. Dunye continues to break ground through complex filmic representations of the intersections of race, gender, and sexuality. Thus, this conference honors Dunye’s growing body of work, as well as her cultural legacy.

dee-rees

Photo of Dee Rees (http://thefilmexperience.net/blog/2016/6/29/welcome-to-the-academy-683-of-you.html)

Dee Rees will be in conversation with Cheryl Dunye on Fri., Sept. 23, 2016 @7 p.m. Pacific Time at McKenna Theatre, Creative Arts Building, SFSU.

The Conference, sponsored by The College of Health and Social Sciences, Center for Research and Education on Gender and Sexuality, Dean of the College of Health and Social Sciences, Dean of the College of Creative and Liberal Arts, Jamie and Phyllis Pasker Funds, Queer Cinema Institute at San Francisco State University, Watermelon Woman 3.0, and Black Sexual Economies Working Group (Washington University-St. Louis), is free and open to the public.

For more information on the symposium, please go to: Watermelon Woman Anniversary Symposium

On Cheryl Dunye’s Watermelon Woman: The Watermelon Woman

On Dee Rees, see: Dee Rees at IMDB.COM

Call for Emerging Artists–Deadline Aug. 1, 2016

Screen shot 2016-07-22 at 1.23.33 PM

Tim Roseborough (and Cheryl Patrice Derricotte)  were the 2015 Emerging Artists at the Museum of the African Diaspora (MoAD), San Francisco.

 

For more information on the 2016 Emerging Artist Program at MoAD, click below:

The Emerging Artists program at the Museum of the African Diaspora, San Francisco

Screen shot 2016-07-22 at 1.31.24 PM

Cheryl Patrice Derricotte (and Tim Roseborough)  were the 2015 Emerging Artists at the Museum of the African Diaspora (MoAD), San Francisco.

 

Click here to apply to the 2016 Museum of the African Diaspora Emerging Artist Program.

REV: Kienholz’s Five Car Stud — anti-racism, 1969

Here’s the correct link:

Kienholz on view in London

CONF: Black Portraiture Revisited II – Feb. 19-20, 2016 @NYU

See Black Portraiture Conference @NYU Feb. 2016

African Masters on The Africa Channel

African Art in London

African art in your living room!

African Masters is a new arts series that starts on the Africa Channel at 9pm tonight. The 6-part programme visits studios in Senegal, galleries in New York, artists residences in Nigeria and auction houses in London to reveal how the African art scene is emerging as a dynamic force internationally. The globe-trotting show shot on location in Nigeria, Senegal Benin, Kenya, South Africa, France, the USA and the UK features interviews with a wide range of artists, Ousmane Sow, William Kentridge, Romuald Hazoumé, Yinka Shonibare and Yusuf Grillo, exclusive studio  visits with El Anatsui, Ablade Glover, Soly Cissé, Sokari Douglas-Camp, Bruce Onabrakpeya and Mary Evans as well as discussions with art world key players including André Magnin (French Curator and Art Dealer) and Bisi Silva (Curator at the Center for Contemporary Art in Lagos).

Dedicated to providing bold, high-quality programming giving viewers unique…

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