Contemporary art curating news and views

Opportunity: Cubitt’s 9th Curatorial Bursary

Posted by Sofia Landström • Sunday, August 4. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Cubitt’s 9th Curatorial Bursary
Deadline: September 30, 2013

Cubitt is an independent charitable organisation which consists of a public gallery providing unique development opportunities for curators, a large-scale grassroots education and community programme and the provision of affordable artists studios in central London. Since its founding in 1991, Cubitt has run as a co-operative led by 32 practicing artists. This is a diverse community of artists working in different media and at various stages in their careers.

Cubitt’s reputation is upheld through the success and development of Cubitt’s 18 month Curatorial Bursary, the only one of its kind in UK. The bursary is a pioneering curatorial model that is highlighted as one of the major platforms for curatorial development in Europe and is key to the success and rich exhibition history of the organisation.

Cubitt seeks to appoint the 9th Curatorial Bursary Holder. The Curatorial Bursary is an exciting opportunity to curate one of the UK’s most established artist-run spaces. The bursary holder will develop an exhibitions and events programme at Cubitt Gallery across a fixed period of 18 months, building on our strong reputation for innovative and challenging curating. For the last two decades, Cubitt has introduced emerging or overlooked artistic talent to a diverse audience and provided an important platform for artists working in London, the UK and abroad.


18 Months | January 2014 – June 2015
Hours : Minimum of 2 days per week on site
Closing date: 5pm on Monday 30th of September 2013

Interviews will be held on Monday 21st of October 2013
Value of bursary: The fee for the position is currently fixed at £12,000 for the full period of the bursary. We are currently working towards securing additional funding to be in place for the bursary start date in January 2014. The curatorial bursary is funded by Outset Contemporary Art Fund and the Arts Council England.

Instructions to apply:
1. Download the Application Form: CubittBursaryApplication_Surname_Forename and Job Description: Curatorial Bursary 2013 Description from this page.
2. Fill in the Application Form.
3. Resave the Application Form and insert your name in the title as directed: CubittBursaryApplication_Surname_Forename.
4. Click on the link: APPLY ONLINE HERE to fill in your details and submit your application form.
5. Submit your completed form by 5pm on Monday 30th September 2013.

We will ONLY accept applications through the online portal. We will not accept applications by email.

Curatorial Bursary 2013 Description

If you have any further questions please email Cubitt’s Gallery Manager, Jenny Richards : jenny@cubittartists.org.uk
We will not accept CVs by e-mail for this position. Please follow the instructions above.

All opportunities are advertised, both here and in relevant press. Cubitt is an Equal Opportunities employer.

Cubitt Gallery cannot accept unsolicited job applications or CVs.
Please note Cubitt Gallery cannot accept exhibition submissions.

Further information: http://cubittartists.org.uk/about/opportunities/

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Opportunity: 89plus, Call for creative practitioners born in and after 1989

Posted by Sofia Landström • Sunday, July 28. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

89plus, Call for creative practitioners born in and after 1989
Deadline: July 30, 2013

89plus is calling for artists, curators, writers, and other creative practitioners to be a part of a long term, international, multi-platform research project, co-founded by Simon Castets and Hans Ulrich Obrist. There is only one rule: you must be 89plus—born in or after 1989.

The year 1989 was marked by several paradigm-shifting events, including the collapse of the Berlin Wall, the introduction of the World Wide Web and the orbit of the first Global Positioning System satellite. Positing a relationship between these world-changing events and creative production at large, 89plus introduces the work of some of this generation’s most inspiring young protagonists. Through various projects and events, 89plus brings together individuals from a generation whose voices are only starting to be heard.


89plus is a long-term, international, multi-platform research project co-founded by Simon Castets and Hans Ulrich Obrist. It is conceived as a mapping of the generation born in or after 1989. Without forecasting artistic trends or predicting future creation, 89plus manifests itself through panels, books, periodicals, exhibitions and residencies, bringing together individuals from a generation whose voices are only starting to be heard, yet which makes up almost half of the world’s population.

Marked by several paradigm-shifting events, the year 1989 saw the collapse of the Berlin Wall and the start of the post-Cold War period; the introduction of the World Wide Web and the beginning of the universal availability of the Internet, as well as the orbit of the first Global Positioning System satellite. Positing a relationship between these world-changing events and creative production at large, 89plus introduces the work of some of this generation’s most inspiring protagonists.

Since an introductory panel held in January 2013 at the DLD – Digital, Life, Design conference in Munich, 89plus has conducted research in Australia with Kaldor Public Art Projects and Hong Kong with Art Basel’s Salon series. In partnership with the Park Avenue Armory in New York, 89plus selected visual artist and curator Alex Dolan to be artist-in-residence during the Armory’s “Under Construction” series, taking place in September 2013.

Open call

89plus announces an open call for artists, writers, curators, architects, filmmakers, musicians, designers, scientists and technologists. There is only one rule: you must be 89plus – born in or after 1989. The open call is hosted at www.89plus.com.

Submissions are kept on a private research database for consideration by the project’s co-curators. As the project continues in the years to come, those selected will be notified of their inclusion in new endeavours.
Submissions are welcome at any time, however the mid-year deadline for 2013 activities is July 30, 2013.

89plus.com is kindly supported by DLD – Digital, Life, Design.
Upcoming events include the 89plus Marathon at London’s Serpentine Gallery on October 18 and 19 during this year’s Frieze Art Fair, and the 89plus Conference at Venice’s Palazzo Grassi on September 5.

For more information and to submit, go to 89plus.com

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Job: Curator, The Louis Vuitton Foundation for Creation

Posted by Sofia Landström • Wednesday, May 29. 2013 • Category: Jobs & Opportunities

Curator, The Louis Vuitton Foundation for Creation
Deadline: Unspecified

The Louis Vuitton Foundation for Creation is offering a unique opportunity to contribute to the development of a world-class international collection of contemporary art dating from the 1960s; to develop and deliver an internationally acclaimed programme of exhibitions and events for a broad public; and to be part of the team.


The Museum of the Louis Vuitton Foundation for Creation, is seeking to appoint a curator, reporting to the Artistic Director, to assist in the development of the Foundation’s Collection and Exhibitions Programme within the ground-breaking Frank Gehry building which is being constructed within the Jardin d’Acclimitation in the Bois de Boulogne in Paris. The Foundation’s initiative will establish an artistic museum, open to all which will contribute to the cultural offerings of Paris, adding to the international reputation of the capital.


In the role of curator, the Foundation seeks an experienced candidate with an art history qualification and the following attributes:

Experience working in the international contemporary art scene;
A track record of delivery of exhibitions, research and publications of quality;
An ability to manage a vibrant exhibitions programme;
Fluency in French and English—both written and verbal.

Who can apply
Open to all

Further information: http://www.fondationlouisvuitton.fr
To the application:http://www.lizamosassociates.com/

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Opportunity: Linda Wyatt Gruber '66 Curatorial Fellowship in Photography

Posted by Sofia Landström • Tuesday, May 14. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Linda Wyatt Gruber '66 Curatorial Fellowship in Photography at The Davis Museum at Wellesley College
Deadline: 15 June, 2013

The Davis is home to distinguished permanent collections from around the globe; holdings include paintings, sculptures, works on paper, photographs, and decorative objects, from antiquity to the contemporary moment. Dynamic gallery presentations and richly varied temporary exhibitions are designed to engage visitors in looking anew at the visual arts, and enhance the Davis’s role as a vital campus resource for cross-disciplinary teaching and study.

Job Description
The Davis Museum at Wellesley College seeks applications for the inaugural Linda Wyatt Gruber ’66 Curatorial Fellowship in Photography. The Gruber Fellowship is a new and dynamic opportunity for emerging curators focused on the realm of photography, and offers an outstanding 2-year curatorial appoint to a recent PhD in Art History and or an allied field with specialization in the history of photography. The successful appointee will mine an aspect of the Davis photography holdings to produce an exhibition at the Museum.

The Gruber Fellowship will be awarded to a candidate with exceptional credentials and promise, and who produces an outstanding proposal for an exhibition rooted in the Davis collections.
Start date: September 3, 2013

Job Requirements

Applicants must have received the PhD with a focus on photography within 3 years prior to application deadline. Important criteria for appointment are evidence of outstanding scholarship and expertise in the history of photography, including its materials and processes, from its mid-19th century invention to contemporary explorations; strong commitment to curatorial practice and museum work; and willingness to be a collegial member of the Davis Museum staff and the larger community at Wellesley College


In addition to a professional cover letter, CV and the standard Wellesley College/ HR on-line application form, candidates will have to submit a research and exhibition proposal. The proposal must magnify new aspects of the Davis photography holdings and include a narrative exhibition summary. This will be assessed based on the quality of the proposal for an exhibition project rooted in the Davis photography collections.

The Davis collections are accessible via the website at;
Further information: https://www.davismuseum.wellesley.edu

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Job: Artistic Director, the Botín Centre

Posted by Sofia Landström • Tuesday, May 14. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Artistic Director, the Botín Centre
Deadline: 27 May, 2013

The Botín Centre, a major new art centre in Santander, designed for the Botín Foundation by the world-renowned architect, Renzo Piano, is seeking to appoint an internationally recognised contemporary art curator as its first Artistic Director. The new Centre which will open to the public in summer 2014, builds on the cultural and educational work of the Foundation over many years, aims to become a world leader in the potential of art and culture to boost creativity and bring economic and social development to the region of Cantabria.

Reporting to the Executive Director and working with the Art Advisory Committee, chaired by Vicente Todoli, former Director, Tate Modern, the Artistic Director will develop and deliver an exciting and enlarged visual arts programme which will bring to Santander a programme of international quality, in keeping with the mission and purpose of the Botín Foundation.

In meeting the requirements of the role, the Artistic Director will have :

• a track record of producing excellent exhibitions and programmes

• experience of working as a senior curator in one or more internationally renowned museums

• a good academic record

• written and oral fluency in Spanish and English.

They will be team players, excited to work with the Executive Director, the Art Operations Director and the rest of the team in the delivery of an arts programme to inspire and delight audiences in Santander and beyond.
For more information or to receive an application pack, please contact Liz Amos or Mary Deegan of Liz Amos Associates on +44 (0)20 7884 9201 or at liz.amos@lizamosassociates.com or mary.deegan@lizamosassociates.com

Further information: http://www.fundacionbotin.org/artistic-director-for-the-botin-centre_fundacion-botin-sala-de-prensa_botin-centre-7958226778866825.htm

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Job: Project Manager, Benrimon Contemporary

Posted by Sofia Landström • Friday, May 3. 2013 • Category: Jobs & Opportunities

Project Manager, Benrimon Contemporary, Los Angeles
Deadline: Accepts proposals until a suitable hire is found

Established in 2010, Benrimon Contemporary’s mission is to represent and support established and mid-career Contemporary artists. The gallery’s artists, such as Simon Patterson and Dimitri Kozyrev, have established careers yet have been overlooked in New York City. While the gallery’s budding artists, like Shay Kun, Trey Speegle and Changha Hwang all live, work and exhibit in New York City. The gallery presents group and solo shows of their roster of artists while additionally producing a few historical exhibitions throughout the year. Benrimon Contemporary carefully curates shows that present innovative ways to explain the continuum of Modern to Contemporary art. The gallery also provides acquisition, management, and consulting services with integrity and professionalism.

Benrimon Contemporary seeks a full-time temporary Project Manager based in Los Angeles. The Project Manager will be the liaison and coordinator on a public art project in LA working for one of its gallery artists. The Project Manager should have experience dealing with architects, engineers, contractors and fabricators as well as managing the production of a large-scale public art project.

A degree in Architecture or Design is preferred, but people with experience dealing with special exhibitions and projects of this nature will be considered.

Please email info@bcontemporary.com with Project Manager in the subject line.

Further information: http://www.bcontemporary.com/

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Job: Curator, International Art, Tate Modern

Posted by Sofia Landström • Monday, April 29. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Curator, International Art, Tate Modern
Deadline: 12 May, 2013

Tate Modern’s programme of exhibitions and collection displays provide public access to groundbreaking modern and contemporary art. To ensure the highest standard of content and delivery of this programme, Tate Modern are currently seeking an experienced Curator to play a leading role in their team.

The Curatorial Department, Tate Modern is responsible for the delivery of exhibitions, collection displays, live performances and film programmes, ensuring the highest standard of content and delivery of this programme. It is also responsible for building the modern international aspect of Tate’s collections.

An experienced curator of modern international art, with specialist knowledge of the period 1900- 1965 is required to devise, develop and deliver exhibitions and collection displays, as well as contribute to Tate Modern’s programme including research and propose acquisitions within Tate’s acquisition strategy. The successful candidate will lead and manage project teams, supervise exhibition and collection display development and installation design, contribute texts and editorial supervision to a range of publications, and manage budgets. As a member of the curatorial team at Tate Modern, the post holder will support the senior management team and contribute to the overall vision of Tate.

Research and Development
Within the context of Tate’s research programme and goals, you will:
• Draw upon art historical and curatorial expertise to research and develop existing and new concepts for exhibition and collection display projects.
• Present research and critical thinking about art historical and museological issues as well as Tate’s programme.
• Follow and engage in scholarly debate about modern and contemporary art.
• Maintain and expand expertise in your specialist area(s).
• Contribute to Tate’s overall research programme.
• Increase expertise in specialist areas by visiting exhibitions, researching and writing papers or articles, presenting lectures, attending conferences, etc.

Exhibitions & Collection Displays
Within the context of Tate Modern’s programme, you will:
• Lead, co-ordinate and manage exhibition and display project teams, as required, to ensure smooth delivery of projects. This will involve negotiation of loans and liaison with artists, collectors, public and private institutions, and responsibility for budgets.
• Write informative and scholarly texts for Tate exhibition catalogues; edit exhibition exhibition catalogues.
• Responsibility for establishing and maintaining key schedule dates for projects.
• Responsibility for project budgets; drawing up, managing and monitoring accurate detailed budget estimates for expenditure and income, to obtain best value without comprising high standards of presentation.
• Research existing or new proposals for exhibition and collection display projects.
• Write and present project descriptions for Tate Trustees, Tate Modern Council, funding bodies etc.
• Write accessible gallery wall texts and captions.
• Lead tours and presentations of displays and collection exhibitions.

Within the framework of the acquisition strategy, you will:
• Research and propose acquisitions, and contribute generally to the work of the team of curators that focuses on acquisitions as well as new areas of collecting.
• Maintain and develop an appropriate network of contacts among artists, artists’ estates, gallerists, critics, scholars and auction houses.
• Liaise with Development department and build relationships with possible benefactors.

Administration and management

To assist with the smooth running of the department and to contribute to the achievement of departmental goals, you will:
• Deputise for senior management, when requested.
• Line management of staff
• Attend Tate events.
• Participate in staff recruitment when required.
• Take on administration-related tasks and projects, when required.
• Provide valuations of works of art
• Give expert advice to external bodies, as required.

Person Specification

• Expert knowledge of international art in the period 1900-1965 as well as a keen interest in contemporary art.
• A relevant degree and post-graduate degree in the history of art or related field.
• Substantial and relevant work experience in an art gallery, museum, or with a collection.
• Extensive experience of the processes involved in staging displays and exhibitions, including managing budgets.
• A high level of knowledge and understanding of issues surrounding collecting modern and contemporary art within a global museum context.
• A well-developed visual sense and understanding of issues involved in the display of works of art in a public gallery.
• Awareness of issues of equality and cultural diversity as they affect the work of a major museum.
• Well-developed interpersonal skills, with the capacity to lead, yet flexible enough to work well within a team, and work collaboratively across Tate and beyond.
• Skilled negotiator with aptitude for managing different types of relationships
• Demonstrable excellence in verbal communication and presentation.
• First-class research skills as well as excellent writing skills, including the capacity to write authoritative texts for a specialist readership as well as accessible texts for a general public.
• Excellent organisation, planning and administrative skills, with ability to prioritise and coordinate multiple activities to meet deadlines.
• Ability and willingness to travel and to attend out of hours functions, as required, to meet Tate’s objectives.
• An interest in and commitment to the work of Tate.

• Knowledge of at least one foreign language
• Knowledge of Tate’s Collection.
• Knowledge of the scope of UK collections as they relate to Tate.
• An established network of contacts in the field of modern and contemporary art.

Our opportunities are open for you to apply online. Please visit: www.tate.org.uk/about/workingattate/ to create an account by registering your details or if you are an existing user, log into your account. For all opportunities, we ask candidates to complete an online application form for the vacancy they are interested in. If you need an application form in an alternative format, please call us on 020 7887 4997. Once you have submitted your application, you can keep track of its progress by logging in to your account.

The closing date for the submission of completed application forms is Sunday 12 May 2013 by midnight.

Further information: http://workingat.tate.org.uk/pages/job_search_view.aspx?jobId=1091&JobIndex=1&categoryList=&workingPatternList=&locations=&group=&keywords=&PageIndex=1&Number=6

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Job: Collections Manager, Royal Academy of Arts

Posted by Sofia Landström • Wednesday, March 20. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Collections Manager, Royal Academy of Arts
Deadline: 28 March, 2013

The Royal Academy of Arts is one of the UK’s foremost arts institutions, famous for its world class exhibitions including Manet, Anish Kapoor and David Hockney. Its purpose is to be a clear, strong voice for art and artists. Its public programme promotes the creation, study and enjoyment of art to a wide range of audiences through exhibitions, education and debate.

The RA’s permanent collection includes paintings, sculptures, drawings, prints, architectural designs, historic books, archives, historic photographs and plaster casts dating from the 18th century to the present day. An exciting opportunity has arisen for a Collections Manager to join the team. The successful candidate will have extensive experience of collections management within a museum or art gallery environment. They will manage the conservation programme, which includes the ongoing care, security and movement of works of art along with the organisation and maintenance of stores and act as courier.

A strong project manager, they will be highly organised with a flexible approach to work. They will possess first class written and excellent interpersonal skills to build effective working relationships with colleagues across the Academy along with razor sharp attention to detail.

1. Manage the conservation programme relating to loans, special projects, displays and on-going conservation of paintings, sculpture, historic frames and other objects in the RA Collection. Schedule and supervise freelance conservators and frame technicians to carry out these projects.
2. Liaise with the Head of Collections and the Curator of Paintings and Sculpture on reports and projects.
3. Liaise with the Registrar on loans and transportation.
4. Update and maintain conservation records and reports.
5. Responsible for the care and security of all paintings and sculptures within the RA and off-site, in storage and on display.
6. Undertake routine inspections of the paintings and sculptures on display in the public areas and RA Schools.
7. Work closely with Events and Facilities Departments on all activities assessing possible risk to works of art.
8. Work closely with the Security team on security of stores, works on display and access.
9. Authorise and arrange movements of painting, sculptures within the RA. Work closely with Curators and Art Handlers on new displays.
10. Monitor conditions in picture and sculpture stores, maintain location records, organise appointments for and supervise visits to stores and use of storage spaces.
11. Ensure that works on display are seen to their best advantage. Arrange cleaning and repair of plinths, pedestals and glazing with Art Handlers.
12. Respond to requests to film paintings and sculptures. Liaise with the Curator of Photography, schedule the movement of paintings and sculptures for photography sessions and supervise film crews.
13. Respond to general enquiries on the collection of paintings and sculptures.
14. Monitor timeframes and schedule conservation and maintenance work.
15. Assist with visits to external sites to ensure that works from the RA’s permanent collection are displayed appropriately.
16. Act as courier, when required.
17. Schedule and supervise visiting/work placement conservation students.
18. Undertake any other duties which may reasonably be allocated by the Head of Collections and Library or other member of senior staff.

The successful candidate must be able to demonstrate a genuine interest and knowledge of the visual arts and a sound understanding and knowledge of the Royal Academy of Arts.
Closing date for applications: 28 March 2013
Interviews to be held week commencing: 8 April 2013

Further information: http://www.royalacademy.org.uk/careers

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Opportunity: Curatorial Residency, Flux Factory

Posted by Sofia Landström • Friday, March 8. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Curatorial Residency, Flux Factory
Deadline: 15 March, 2013

Flux Factory is a non-profit art organization that supports and promotes emerging artists through exhibitions, commissions, residencies, and collaborative opportunities. Flux Factory is guided by its passion to nurture the creative process, and knows that this process does not happen in a vacuum but rather through a network of peers and through resource-sharing. Flux Factory functions as an incubation and laboratory space for the creation of artworks that are in dialogue with the physical, social, and cultural spheres of New York City (though collaborations may start in New York and stretch far beyond

Flux Factory is expanding their "Flux Artist-in-Residence" program to include two six-month residencies per year for emerging curators who are based in the United States, during which the participants will work side-by-side with resident artists in an immersive environment to create new work collectively. Each residency will culminate in a public exhibition at the Flux Factory gallery, as well as related programming, which may include panel discussions, artist talks, screenings, or publications. Resident curators will also have the opportunity to work with Flux Factory to develop and produce their collective exhibitions and educational programming during their stay and beyond.

The two exhibitions and related educational programming will be generously supported by the National Endowment for the Arts. Residents are responsible for the cost of the studio for this residency, approximately $750 each month.

1st residency:
May 1st, 2013 – November 1st, 2013
Culminating exhibition – mid-October

2nd residency
November 1st, 2013 – May 1st, 2014
Culminating exhibition – mid-April

To apply, please send a multi-page .pdf (10mb or less) that includes:

- Proposal for an exhibition concept and related programming in 500 words or less, focusing on the idea behind the show. Proposals should make use of our expansive network and resources, and should reflect Flux Factory’s commitment to collaboration, risk-taking, and social engagement while expanding the horizons of our 19-year legacy.
- Working list of artists (URLs & illustrative images) for consideration, though they do not have to have been contacted or confirmed.
- Current CV.
- Up to 2 examples of curatorial statements, essays, press releases or other relevant written material for your previous projects.
- Letter of interest that speaks to our participatory organizational model and that addresses the criteria of permanent residency in the US.

Send applications to apply@fluxfactory.org. Please include Curatorial Residency and your last name in the subject line.

Further information: http://www.fluxfactory.org/news/residency-opportunities-in-2013-2014/

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Job: Associate Curator, The Metropolitan Museum of Art

Posted by Sofia Landström • Wednesday, February 20. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Associate Curator, Modern American Art
Deadline: 18 March, 2013

The Metropolitan Museum of Art, one of the world’s finest museums, seeks an Associate Curator, Modern American Art. The specialist in twentieth century American Art will participate in research, development and active management of the Modern and Contemporary collection at the Metropolitan Museum and the Breuer project; initiation of collection displays, major special exhibitions, publications and interpretation; and participation in all activities of the Department.

Primary Responsibilities and Duties:

Participate in review of American works of art and related aspects of the collection;
Participate in devising and delivering departmental collection and research strategies;
Initiate and organize collection exhibitions including research, catalog entries, other texts and database maintenance for Modern & Contemporary programs including the Breuer project;
Undertake new research and act as author and essayist for specialized publications, including exhibition catalogues and other interpretive content, printed and online;
Foster and maintain good working relationships with donors, patrons, collectors, colleagues from other international institutions, the scholarly community, dealers, and other individuals involved with the interests of the Museum;
Assist with M&C fundraising as appropriate;
Assist with planning programs for Modern and Contemporary Friends’ groups;
Answer correspondence relating to Collection in field of expertise; assist the public and visiting scholars;
Contribute to public programs (Learning, Volunteers, etc.);
Other related duties.

Requirements and Qualifications

Experience and Skills:

Minimum four years' experience in a museum or academic institution;
Demonstrated scholarly achievement including evidence of original research;
Initiated and executed major contemporary loan exhibitions with broad international scope;
Excellent interpersonal and communication skills with artists, museum colleagues, donors and general public;
Ability to create and maintain precise and widely researched records;
Demonstrated commitment to broad international engagement and learning;
Demonstrated engagement with artistic practice across the world;

Knowledge and Education:

PhD in history of art
Deep expertise in twentieth and twenty-first century American art;
Excellent written and spoken English;
Proficiency in one non-English language preferred.

Application Deadline: March 18, 2013 at 10:00 AM
The Associate Curator, Modern American Art is full-time and includes full benefits. Salary will be commensurate with experience. Send cover letter, indicating position of interest, resume, and salary history to:
employoppty@metmuseum.org, as a Word attachment only with “Assoc Curator/Mod Amer Art” in the subject line.

Further information: http://www.metmuseum.org/about-the-museum/career-and-volunteer-opportunities
or: http://www.jobtarget.com/c/job.cfm?job=12297769&vnet=0&site_id=8712

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Job: Curator of American Art, Worcester Art Museum

Posted by Sofia Landström • Friday, February 15. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Curator of American Art, Worcester Art Museum,
Deadline: March 1, 2013

The Worcester Art Museum seeks an exceptional Curator of American Art to lead a distinctive program in American art which is centered upon the museum's significant holdings, especially in the areas of Colonial and Federal American portraiture, Colonial and Federal silver designed by Paul Revere, mid-to-late nineteenth century American sculpture, and Gilded Age American painting, with a particular focus on American Impressionism. This position is supported by the Andrew W. Mellon Foundation.

Guided by the Museum's global perspective, mission, and strategic plan, the Curator of American Art will develop a dynamic range of exhibitions, along with publications and related programs that will increase WAM's audiences for American art, contribute original scholarship to the field, and enhance patronage for the program and the museum generally. The Curator of American Art will have opportunities to participate with colleagues in new installation initiatives conceived to create meaningful connections by integrating collections across departments/cultures/periods/media. Activities will include shaping the growth of the American collection by recommending acquisitions, overseeing strategic deaccessioning, soliciting gifts, and cultivating patronage.

The Curator of American Art will oversee exhibition project teams, will collaborate with all the curators as well as the education, design, and marketing staffs to ensure that the American art program meets the highest professional standards of innovation, relevance, and audience engagement, and will work closely with the development department to acquire the resources necessary to sustain and enhance exhibitions, publications, and acquisitions, as well as support the museum's broader cultivation efforts and campaigns. The Curator of American Art also will create opportunities for interdisciplinary collaborations with the area's many cultural and educational institutions, including the American Antiquarian Society.

The candidate must be experienced in project planning, management and implementation, possess strong interpersonal skills, be an excellent communicator, and be willing to work flexibly as a part of a larger, senior-level curatorial team. A PhD is strongly preferred, as are a broad knowledge of art history, five or more years of curatorial experience, and expertise in 17th- to 20th-century American art.

Centrally located in New England, Worcester is an hour from Boston, Providence and Hartford, an hour and a half from the Berkshires, three hours from New York City, and is convenient to Vermont, New Hampshire, and Maine.

Qualified applicants, please send CV and cover letter to Director of Human Resources, Worcester Art Museum, 55 Salisbury Street, Worcester, MA 01609-3196 or email documents to humanresources@worcesterart.org by March 1, 2013. Early applications are encouraged. We pledge to conduct a confidential search. The Worcester Art Museum is an equal opportunity employer.

Further information: http://www.worcesterart.org/Information/Jobs/american.html

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Pick 'N Mix - November 2009

Posted by Michelle Kasprzak • Tuesday, November 3. 2009 • Category: Pick 'N Mix

Welcome to this month's Pick 'N Mix.

- "Everyone's a Curator" is the theme of a recent item over at Bad at Sports. As they say: "Even Umberto Eco. I love what the Louvre is doing by signing him on as guest curator (as they have previously done with writer Toni Morrison and composer Pierre Boulez)". I've blogged about this exact thing at this exact place happening before, where I speak in a sombre fashion about the "rather serious role of cultural arbiter" that curators play.

- Everyone's a curator, which I suppose makes everyone stressed? File this under "slightly strange finds": an article on CNN Money ranking curator as one of the most stressful jobs around.

- Ah, no, I've got it wrong, the stress comes from all the ways there are out there to be ranked and turned into list-fodder! There's been lots of buzz (both positive and negative) about the ArtReview Power 100 list and Hans Ulrich Obrist, superstar curator, takes the number one spot. Meanwhile, Hyperallergic blog did a spoof list of the Top 20 Most Powerless People in the Art World, wryly listing "assistant curators living off $27,000 salaries, with $80,000 in grad school debt from a fancy curatorial studies program" in 7th place.

- The issue of private collector's exhibitions, especially in these uncertain financial times, won't go away. I read about it first on Tyler Green's blog. He quotes the position of AAMD executive director Janet Landay: "We assume that our members bring the same curatorial purpose to these exhibitions as they do to any other, ultimately to answer the question: 'Does this presentation support our mission and benefit our audiences?' Moreover, these exhibitions often have works of art not frequently seen by the public. So, the museum is providing an opportunity for audiences to experience and enjoy new objects that they otherwise wouldn't have the chance to see." Green says that: "Landay's comments miss the point. It is virtually impossible for shows from single private collections to have the same art historical or scholarly purpose as curator-generated exhibitions because they rely on a single, narrow source. Fluff shows are the opposite of curatorial purpose because by narrowly restricting a curator's view they limit curatorial freedom, investigation and inquiry. They are the primary means through which art museums devalue their curatorial departments." I have to say that I agree with Green, however the question is why are these exhibitions becoming more and more the norm rather than ostracised because of the impact they have on curatorial freedom that Green notes?

- There is a new issue of On Curating, check it out! The whole issue is terrific but my highlights were the essays "Avant-garde Institute" by Joanna Mytkowska and "Kinoapparatom presents: Other Spaces of Cinema" by Simone Schardt and Wolf Schmelter.

- I was also absorbed by "Curatorial Responsibility and the Exhibition of Israeli and Palestinian Political Art in Europe" an essay that was written for the catalogue of "Overlapping Voices, Israeli and Palestinian Artists", by curators Karin Schneider, Friedemann Derschmidt, Tal Adler, and Amal Murkus. I find their working difficulties sobering, and in the end their questions put top 100 lists and the opinion of CNN Money very much in perspective.

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Pick 'N Mix - February 2009

Posted by Michelle Kasprzak • Wednesday, January 21. 2009 • Category: Pick 'N Mix

Welcome to February's Pick 'N Mix: the credit crunch special!

- They say the financial trends that impact the art world are about six months behind larger global financial trends. Perhaps there's a grain of truth to that, given the doom and gloom in the headlines recently, including a 20% reduction in staff at the LA MoCA and the Rose Museum's (apparent) imminent closure.

- Significant job security worries aside for a moment, what could this mean for curators? Mark Spiegler, Art Basel co-director believes that "...with less money flowing around, gallerists may conclude that if there are no sure sales, they might as well do something interesting and significant. In the past, certain types of art were sure to sell, and if you took a risk, you were leaving money on the table." Glasgow-based curator Francis McKee concurs with this sentiment, explaining in this longer segment on BBC Scotland the largely positive impact that the last major recession had on the London and Glasgow art scenes: "the recession will actually help us in some ways".

- And of course, in these tough financial times, it's never a bad idea for the state to intervene: In France, Nicolas Sarkozy has canceled a cut to culture funding and he instead increased the budget by €100 million, established a new cultural council, and implemented a policy enabling free entrance to museums for visitors under twenty-five years of age. Bravo!

- Last but not least, while we may have to stretch budgets a bit further for practical things, Ben Davis argues we should not allow ourselves to enter an intellectual recession as he discusses a current crisis in art criticism: "For if a neoliberal boom has been the context for the "crisis of criticism" debate heretofore, the current, stomach-turning collapse represents the implosion of that economic model. [...] Mainstream ideas about what makes sense for society are in flux. Shouldn’t criticism be too?"
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Project: In-Site Montreal

Posted by Michelle Kasprzak • Sunday, February 18. 2007 • Category: Musings

I'm proud to announce the (semi-recent) launch of my latest curatorial effort.

In-Site Montreal is a collection of site-specific art presented on the portal pages of five wireless internet hotspots in the Ile Sans Fil network. Artists Nicolas Fleming, Maria Legault, and Virginie Laganiere have created art works that can be viewed simply by logging in to the Ile Sans Fil network at the selected hotspots. Though the project is best viewed in-situ, you can also view the works produced by the artists for the hotspot locations at the In-Site Montreal micro-site.

I have produced a curatorial text for the project, which I would be grateful for your feedback on, my cherished readers.

The concluding paragraphs of the essay include the following statements:
The virtual spaces that In-site Montreal inhabit are amorphous areas around several accepted gathering places such as cafes, galleries, markets, and bars. They are perhaps places where as an internet user, you may intend to use the opportunity of connectivity to the network to look outward, to read news of distant places or connect with friends far away through e-mails and online social networking sites. The art practice of telematics in particular addresses the creative possibilities when two parties are connected over distance to communicate. In some way, the pieces presented on the portal pages of Ile Sans Fil's network as part of the In-Site Montreal project present something that is almost anti-telematic, in that the works look inward rather than outward. In the case of this project, a connection to someone across the globe is not sought, it is shunned in favour of a further examination and rumination on the details of the local environment.

I'm interested in this idea of the inverse-telematic, the inward-looking, the intensely-local, especially using a tool such as Wi-Fi that we are so accustomed to associate with an outward-looking, nearly-anonymous roaming of virtual terrain.

Thanks to Year Zero One for producing the project, the Canada Council for the Arts for funding the project, Ile Sans Fil for hosting the project, and Rita Godlevskis for designing the map and visual identity of In-Site Montreal.

Every curator's nightmare?

Posted by Michelle Kasprzak • Tuesday, August 29. 2006 • Category: Musings

Perhaps it is every curator's nightmare - the gallery closes your show less than 24 hours after it opens.

The Gene Culture exhibition at Egg Space Gallery in Liverpool opened on August 9. The show is part of a broader research project by curator Gaynor Evelyn Sweeney, analysing perceptions of genetics in postmodern society. The Gene Culture exhibition contained a range of work in a variety of media, from photographs to animal parts. The show was closed down because of apparent concerns over a vegetarian restaurant being in the same building as the gallery (in case the animal parts escape?), and a skirmish over a performance at the opening event.

Ms Sweeney, a performance artist and graduate of Liverpool John Moores University, said she was disappointed with the decision.

"We had selected 10 international artists from 250 submissions and the standard of art was very high."

Artist Carrie Reichardt had her performance art piece, Pinky and Perky, banned on opening night. She was due to have worn pigs' heads in place of a bra.

Read the news article here.

Of course, this could be viewed as a blessing or a curse. The show will possibly live on and travel to other locations, and if the truism "there's no such thing as bad press" is to be believed, then one could conclude it's hard to buy the kind of press that a show being censored brings on.

The overreaction on the part of the controlling interests in the Gene Cultures case reminds me of the case from a few years ago of the Terminal 5 exhibition, curated by Rachel K. Ward, that also barely got past the vernissage.

Once again, nervous figures of authority (in this case, a sponsor of the exhibition, Jet Blue Airlines) objected to a work by Vanessa Beecroft featuring nearly naked black women with chains around their feet. Obviously a striking image, and a political statement that the sponsors balked at. Once again, an opening night party went terribly awry, this time simply because of raucous behaviour, resulting in puddles of puke and vandalised walls in the pristine terminal by Eero Saarinen at JFK airport. This was about as much as the New York Port Authority could take, and so they shut the show down. (You can read more about the show and its closure here).

However, Ms Ward is obviously a very smart cookie, and after working very hard to produce what appears to be a very interesting and tight exhibition, she managed to still generate press (and perhaps the show became even more "hooky" after being shut down by the Port Authority) and also seems to have spun off the exhibition into a derivative show, Terminal 5: Now Closed, in Paris.

I'm interested to see how Ms Sweeney makes lemonade out of the lemon of a situation she is currently in.

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