Curating.info

Welcome to another edition of Pick 'N Mix, my collections of links and news relevant to curators.

- There are two events coming up in March that I'd like to highlight. Friends and compatriots CRUMB are launching three books on Friday March 5 in Gateshead, UK. CRUMB's co-founders, Sarah Cook and Beryl Graham, are launching their new book Rethinking Curating: Art After New Media, published by MIT Press, and two new volumes of CRUMB dialogues published by The Green Box, Berlin. Find out more on their Facebook event page. A few time zones over in Philadelphia, USA, on Saturday March 13, a symposium entitled "Curating and Risk" will be held at Moore College. The event is the fifth in a series of public conversations about issues and ideas in contemporary curatorial practice. Admission is free but RSVPs are requested, find out more on Moore's website.

- Two new must-reads: The Exhibitionist is a new journal on exhibition making that looks like essential reading, especially as it is made by curators for curators. Also Independent Curators International has just launched Dispatch, which will host a range of curators around the world on a monthly basis. This month, the host is Sofía Olascoaga, an educational curator based in Mexico City.

- Whitney Biennial curator Francesco Bonami was recently profiled in New York Magazine. A quick read, and interesting merely to see the slightly lazy "curator as failed artist" trope trotted out. The quote from Bonami I liked best was: "It’s a myth that curators change the career of an artist. The work of an artist changes the career of an artist."

Curatorial/Exhibitions Intern
Organization: Philadelphia Society for the Preservation of Landmarks
Exhibitions/Curatorial Intern (unpaid)

The Philadelphia Society for the Preservation of Landmarks (Landmarks) seeks an undergraduate or graduate intern for its Landmarks Exhibitions: Contemporary Projects program. This is an acclaimed interdisciplinary program of site-specific visual arts and experimental performance in historic sites. Internships can be adjusted to meet the credit requirements for your academic institution.

SKILLS/REQUIREMENTS

- Should be familiar and comfortable with contemporary art, and experimental/interdisciplinary thinking, and also be interested in history;
- Students in art history, museum/curatorial studies and fine arts are encouraged to apply, but applications are welcome from those in any field if they have a strong interest;
- Interns should be comfortable interacting with both artists and the public;
- Previous skill with photographic documentation, graphic design, a/v equipment and exhibition installation is a plus, but not required;
- Interns should be enrolled in a Philadelphia-area college or university, and need to make any necessary arrangements with their school to receive credit (generally, internships are 3 credits);
- Schedule is flexible, but you MUST be available to work weekends, and also occasional evenings for special events. If you cannot work on weekends at all, please do not apply.
- Intern must specifically be available during the period of March 12-14, regardless of your school’s Spring Break.
- In April, most internship work will occur on-site on Friday, Saturday and Sunday afternoons.
- Must be comfortable with working independently, under minimal supervision.
- Shoud be able to easily get to the Society Hill/old City section of Philadelphia.

DUTIES
Internships can accommodate specific needs or research interests of your academic program. The bulk of the work of the internship can be completed by early May, leaving you with extra time for other end-of-semester work. Specific duties that any intern will perform include:

- Assisting with exhibition installation/de-installation;
- Gallery-sitting and interacting with exhibition visitors;
- Helping to supervise special events/exhibition openings/performances;
- Assisting with marketing, press and interpretive materials;
- Conducting online and library research about contemporary art in historic sites. Assembling annotated bibliographies and a resource binder about similar projects around the world.

Other duties as assigned, or as appropriate depending upon intern’s interest and academic program. For graduate students especially, more in-depth research projects may be developed.

To Apply:

TO APPLY Please email a cover letter, résumé and brief writing sample, preferably by January 31 or sooner to Robert Wuilfe, Curator of Contemporary Projects at rwuilfe -at- philalandmarks.org. Interviews with top candidates will be scheduled as applications are received, so apply soon. Emailed documents must be in PDF format.

Education Level: undergraduate, graduate
Deadline: 01/31/2010
Posted: 01/14/2010 Expires: 02/13/2010

Andrew W. Mellon Fellowship
Deadline: March 1, 2009


The Philadelphia Museum of Art seeks applicants specializing in modern and contemporary art for a post-doctoral fellowship, funded by The Andrew W. Mellon Foundation, and offered beginning June 2009. Available to outstanding scholars who wish to pursue a curatorial career in art museums, this two-year fellowship, with a possible third year renewal, will provide curatorial training while also supporting scholarly research related to the renowned collections of modern and contemporary art at the Philadelphia Museum of Art.

The Mellon Fellow will work in the Department of Modern and Contemporary Art, collaborating closely with the individual curators as well as with other curatorial, conservation, education, information services and registrar staff. The Fellow will have access to the collections, and to the Museum's library, and partake of all the professional privileges extended to Museum staff.



Working in consultation with the supervising curators, the Mellon Fellow will develop concrete projects that complement their research interests and the priorities of the department. Research projects that contribute to the Museum's scholarly publications or exhibitions drawn from the permanent collections are encouraged. In addition, the Fellow will also have the opportunity to participate in a wide range of museum activities, such as exhibition and program planning, volunteer training, art history lectures and gallery tours.



Applicants must have completed a PhD within the last five years or have a proven record of equivalent accomplishment. Candidates must demonstrate scholarly excellence and promise as well as a strong interest in a museum career. Mellon Fellows will receive a competitive starting salary. Benefits and a travel allowance will also be provided.



Please apply with a statement of no more than 4 pages (double spaced) describing your preparation, area of research and potential relationship to the Museum's collections. Applications should also include:



- A complete curriculum vitae, including education, employment, honors, and awards

- A writing sample

- Complete contact information (name, address, e-mail, telephone)

- Three letters of recommendation sent directly to the Museum at the address below.



Statements of interest with writing samples can be submitted online at http://www.philamuseum.org/jobs/. Complete application materials must be received by March 1, 2009. 



Human Resources

Philadelphia Museum of Art

P.O. Box 7646
Philadelphia, PA 19101-7646
 USA
http://www.philamuseum.org/
No telephone calls, please

Lorie Mertes, Director of the Galleries at Moore and Janet Kaplan, Director of the new BFA in Curatorial Studies announce: Curating and Education: Conversations with an International Panel

Saturday October 27, 2007, 10am – 5pm
Moore College of Art & Design
20th and The Parkway, Philadelphia, PA 19103

Curating and Education is the second in an ongoing series of public conversations about issues and ideas in contemporary curatorial practice presented by The Galleries at Moore in conjunction with Moore’s new BFA in Curatorial Studies. Through a series of paired conversations with an international roster of distinguished panelists, we will discuss the creative nexus between curating and education. Questions to be considered include: What do the growing number of projects in which curators are creating educational forums as exhibitions suggest about opening up the creative exchange between curating and education? Given the institutional hierarchies that often impede creative collaboration between curators and educators, how can curating and education work together as powerful laboratories for the production of ideas? What is at stake and what is possible?

The program is free but pre-registration via e-mail is requested for planning purposes. Please RSVP by October 22, 2007 to: jkaplan -at- moore.edu

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