Tonya Nelson examines the changing responses of black artists to racism since the Civil Rights Era
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
Horace Baker (engraver), “Across the Continent—The Frank Leslie Transcontinental Excursion,” published in Frank Leslie’s Illustrated Newspapers, Apr. 27, 1878, page 129, at Online Archives of California.
Caption also reads “Rounding Cape Horn at the head of the great American Canyon with a view of the South Fork of the American River, where gold was first discovered in 1848. Chinese laborers.”
Panelists Sue Lee (Chinese Historical Society of America), Hilton Obenzinger (Stanford University’s Chinese Railroad Worker’s in North America Project), Paulette Liang (a descendant of a Chinese person who worked on the railroad) and James Zarsadiaz (USF) meet to discuss “Reconstructing History, Reconstructing Lives: Chinese Laborers and the Building of the Transcontinental Railroad” at USF’s Gleeson Library tomorrow.
The event is free and open to the public.
On view: December 6, 2016 through May 16, 2017 This sweeping exhibition showcases works of fashion designers of African descent created from the 1950s through now. Organized into themes including “Breaking into the Industry,” “Rise of the Black Designer,” “Eveningwear,” “African Influences,” “Street Influences,” “Activism,” “Menswear,” “Black Models” and “Experimentation,” the fashions are as varied as the designers […]
Muslims have been woven into the fabric of New York since the city’s origins as New Amsterdam, and the Museum is happy to share highlights from our collection which shed light on this deep history in our current exhibition, Muslim in New York. The size and diversity of New York’s Muslim community has continued to […]
The David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora at the University of Maryland, College Park is proud to announce its spring exhibition, Shifting: African American Women Artists and the Power of Their Gaze. The exhibition, organized by the Driskell Center, is curated by the David C. Driskell Center’s Executive Director, Professor Curlee R. Holton, assisted by Deputy Director, Dorit Yaron. The exhibition will be on display at the Driskell Center from Thursday, March 2, 2017 through Friday, May 26, 2017, with an opening reception on Thursday, March 2nd, from 5-7PM.
Lubaina Himid, The Rapid Effects of Abolition, from the Swallow Hard: The Lancaster Dinner Service series (2007), an assortment of overpainted plates, bowls and terrines at A-N.
Lubaina Himid’s grandmother, MaShulan, photographed in Zanzibar in 1954, and reproduced as a poster for the exhibition ‘New Robes for MaShulan – Lubaina Himid, Work Past and Present’, Rochdale Art Gallery, 1987. Courtest: the artist at Frieze
The National Gallery of Jamaica is pleased to present Spiritual Yards: Home Ground of Jamaica’s Intuitives, which features selections from the Wayne and Myrene Cox Collection. The exhibition opens on Sunday, December 11, with the formalities starting at 1:30 pm, starting with opening remarks by Wayne Cox and followed by a musical performance by the […]
Okwui Enwezor described the ephemera of Africa that arrived in European docks as “strange cargo”: as it was unloaded from ship to warehouse by longshoremen, as it was bid on, sold, and displayed in wealthy homes, lost and rediscovered, each object shaped European visions of Africa. ‘Africa’ as we imagine it now, was shaped by that strange cargo. Later in his essay in the January 1996 issue of frieze, Enwezor asked, “Why do we never consider the achievements of those artists who at great professional cost and individual isolation have not only transcended but have equally transfigured the borders constituting the notion of Africanity?” South African artist Jane Alexander’s work, now positioned throughout the Cathedral of St. John the Divine in Manhattan’s Morningside Heights neighbourhood, is part of the tradition of Africa’s strange cargo, but it is freight that – possibly at the cost of easy audience engagement, and…
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