Contemporary art curating news and views from Michelle Kasprzak and team

Job: Curator, Kunsthalle Wien

Posted by Sofia Landström • Sunday, August 11. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Curator, Kunshalle Wien
Deadline: September 15, 2013

Kunsthalle Wien is one of Austria's most prominent institutions for international contemporary art and discourse. Its two exhibition venues are located within Museumsquartier and in Vienna's city centre at Karlsplatz. The institution's internationally recognized exhibition programme of group and solo exhibitions feature some of the leading contemporary artists, and there is an equal dedication to ensure that these exhibitions are accompanied by a broad and challenging discursive programme that endeavours to open a dialogue not only with the arts, but with a variety of disciplines such as theatre, economics, sociology, philosophy, etc. Through its close cooperation and collaboration with artists, researchers, and other cultural actors, Kunsthalle Wien strives not only to be an active participant in the international discourse on contemporary art and related fields, but also to highlight current issues that are of concern to not only the arts, but also to society at large.

We are looking for a curator with expertise and wide-reaching creativity. You must have a higher education in the art field or a similar disciplinary background, a minimum of three years' experience within the field of contemporary art and a broad international network. The curator must have an understanding of both financial administration as well as experience in relation to public and private support sectors. We are looking for a person with a dedication to teamwork, collaboration, cooperation, and communication.

We expect basic knowledge of German. The position has a set term of at least two years.

The application deadline is September 15th, 2013.

Send your CV and cover letter to bewerbung -at-

Further information:

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Job: Director, Malmö Konsthall

Posted by Sofia Landström • Tuesday, July 9. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Director, Malmö Konsthall
Deadline: September 15, 2013

Workplace description
Work for the City of Malmö!
By working for the City of Malmö you will have the opportunity to work with sustainable social development. As a community builder you will play an important role in Malmö's development, which is why we regard ourselves as the workplace of the future. The fact that all people are of equal value is a prerequisite for democracy and also has a self-evident place in our system of values.

Malmö Konsthall has one of Europe's biggest and most beautiful spaces for contemporary art and organises a number of exhibitions every year. Its unique building and quality-based programme give Malmö Konsthall a strong profile and strength at the international level and make it one of the leading and most interesting art institutions in the region. Malmö Konsthall places great importance on reaching out to its public and on its immediate proximity to the regional arts scene. Malmö Konsthall is the home of contemporary art in Malmö and is where people encounter the latest and most exciting art—local, regional and international.

Malmö Konsthall deliberately aims to gain new visitors by offering the greatest possible openness and accessibility. In order to enrich visitors' experience of contemporary art and to stimulate both intellectual and practical work, Malmö Konsthall aims to develop and strengthen its art educational activities, in particular for children and young people.

Job description
The business objectives of Malmö Konsthall:
–To produce and present a number of Swedish and international exhibitions of current contemporary art
–To promote cooperation at the international and national levels but also to be an active arena for the regional artistic scene
–To provide generous opening hours and an interesting and varied programme with the aim of reaching visitors of all ages and from all social groups whatever their cultural background
–To continue to renew and further strengthen its art educational activities, especially for children and young people as well as special needs adults
–To arrange exhibition activities in public spaces in order to reach a new audience.

The job of Director of Malmö Konsthall falls under Malmö Department of Culture, the City of Malmö, which is a politically driven organisation. You will report directly to Cultural Director Elisabeth Lundgren.

We expect you to have university degree in arts/culture or in a field considered by the employer to be equivalent. You must have in-depth, documented knowledge of contemporary art, as well as extensive experience of designing, implementing, operating and financing exhibition work nationally and internationally. It is an advantage if you have managerial/leadership training.

You are experienced and have a large national and international network in the world of culture. You have solid experience of exhibition work nationally and internationally. You must be a good writer and have an excellent command of written and spoken English and preferably also of a Nordic language. Additional language skills in one of Malmö's major languages ​​are an advantage.

We are seeking a creative and imaginative visionary with a broad and international network, a leader who has the ability to do external strategic analysis and who can work analytically and strategically.

You possess good communication skills that enable you to debate and present points of view. You are a good writer. You have good leadership skills. You are flexible and confident in your management role and have high integrity. You have a strong interest in and commitment to art educational activities and social and cultural issues.

In this recruitment we are cooperating with Recruitment International.

Extent of the position
Starting date: By agreement
Temporary employment (directorship, four years)

Apply no later than September 15, 2013
You can apply for this job via

Further information:

Elisabeth Lundgren, Cultural Director: T +46 (0) 766 342927
Anna Holmbom, Acting Director, Malmö Konsthall: T +46 (0) 708 341288
Benny Carlsson, Recruitment International: T +46 (0) 705 405100
Håkan Thuresson, Recruitment International: T +46 (0) 737 763658
[email protected]

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Job: Curator, Kunsthalle Wien

Posted by Sofia Landström • Monday, July 1. 2013 • Category: Jobs & Opportunities

Curator, Kunsthalle Wien
Deadline: 15 September, 2013

New thinking/new positions/new curator
Kunsthalle Wien is one of Austria's most prominent institutions for international contemporary art and discourse. Its two exhibition venues are located within Museumsquartier and in Vienna's city centre at Karlsplatz. The institution's internationally recognized exhibition programme of group and solo exhibitions feature some of the leading contemporary artists, and there is an equal dedication to ensure that these exhibitions are accompanied by a broad and challenging discursive programme that endeavours to open a dialogue not only with the arts, but with a variety of disciplines such as theatre, economics, sociology, philosophy, etc. Through its close cooperation and collaboration with artists, researchers, and other cultural actors, Kunsthalle Wien strives not only to be an active participant in the international discourse on contemporary art and related fields, but also to highlight current issues that are of concern to not only the arts, but also to society at large.

They are looking for a curator with expertise and wide-reaching creativity. You must have a higher education in the art field or a similar disciplinary background, a minimum of three years' experience within the field of contemporary art and a broad international network. The curator must have an understanding of both financial administration as well as experience in relation to public and private support sectors. We are looking for a person with a dedication to teamwork, collaboration, cooperation, and communication.

Expecting basic knowledge of German. The position has a set term of at least two years.

The application deadline is September 15, 2013.

Send your CV and cover letter to [email protected].
Kunsthalle Wien
Museumsplatz 1
1070 Wien

Read more about Kunsthalle Wien at:

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Job: Exhibition Designer, The UCR ARTSblock

Posted by Sofia Landström • Tuesday, June 18. 2013 • Category: Jobs & Opportunities

Exhibition Designer, The UCR ARTSblock
Deadline: Accepts proposals until a suitable hire is found

In the Heart of Inland Southern California, UC Riverside is located on nearly 1,200 acres near Box Springs Mountain in Southern California; the park-like campus provides convenient access to the vibrant and growing Inland region. The campus is a living laboratory for the exploration of issues critical to growing communities' air, water, energy, transportation, politics, the arts, history and culture. UCR gives every student the resources to explore, engage, imagine and excel.

At UC Riverside we celebrate diversity and are proud of our #4 ranking among the nation for most diverse universities (US News and World Report 2011). Become part of a place that fosters success for all its constituents, students, faculty, and staff, and where work/life balance and campus culture are integral to our way of life.

UCR is ranked 41st among top public universities (US News and World Report 2011) and is an affirmative action and equal opportunity employer, with a commitment to workforce diversity.

Job Description

The UCR ARTSblock Exhibition Designer/Preparator is responsible for design interpretation and all aspects of preparation and production of the UCR/California Museum of Photography (CMP), Sweeney Art Gallery, and the Barbara and Art Culver Center of the Arts exhibitions to include organization, planning, and purchasing of required materials for fabrication of exhibition furnishings and installations. This position works with the UCR/CMP Curator and the Sweeney Art Gallery Director/Curator to prepare physical and conceptual designs for contemporary art, historical and interactive exhibitions. The UCR ARTSblock Exhibition Designer directly supervises museum preparators, students, interns, and volunteers in exhibition design, preparation, and production. This position has the responsibility to ensure the artistic and conceptual integrity for all ARTSblock exhibitions and helps maintain the institution's leadership in the field of contemporary museum design. Included in these responsibilities are working closely with other staff such as registrars, on packing and unpacking, crating, and shipping of all incoming and outgoing museum objects for international and domestic exhibits; general facilities and exhibition maintenance. The Exhibition Designer is also responsible for the exhibition schedule.


Bachelors Degree in Art, History of Art, Museum Sciences or related fields and four years of experience in curatorial work, including one year in a supervisory capacity; or an equivalent combination of education and experience.
Knowledge of contemporary art, photography, and media works.
Knowledge of contemporary art, photography, and media works.
Knowledge of Contemporary Museum design.
Ability to work with and manage projects with guest curators and artists.
Ability to function independently and take responsibility for results.
Knowledge of museum practices and standards.
Exceptional interpersonal and communications skills applicable to a deadline oriented, creative and academic atmosphere.
Proven record of efficient performance in supervising and installing fine arts exhibits under established budgetary constraints and firm exhibition deadlines.
Ability to manage multiple tasks and timelines with close attention to detail.
Experience in supervising and coaching museum preparators, students, interns, and volunteers for best performance.
Practice, knowledge and physical ability to read architectural plans and shop drawings.
Experience in light construction techniques to fabricate exhibition elements/furnishings.
Knowledge/practice of conservation techniques and use of materials in preparation and care of works on paper and photographic materials (matting/framing).
Experience in dry mounting and cutting exhibition text panels and captions.
Knowledge/practice in packing/shipping/receiving and care of a variety of fine art objects and materials.
Skills in the use of conventional and power tools for modeling and exhibition design.
Ability to lift up to and at least 40 lbs.
Strong planning and problem-solving skills with an ability to develop and suggest possible innovative solutions to difficult problems in a flexible manner.
Experience in Microsoft office, Data entry, and e-mail software.

Contact Person: Emily Papavero Phone: 951 827-4780
Email Address: [email protected]
Apply URL:

Further information:

Defined tags for this entry: californien, , exhibition designer, usa

Job: Chief Curator, The Hepworth Wakefield

Posted by Sofia Landström • Saturday, June 15. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Chief Curator
Deadline: 8 July, 2013

The Hepworth Wakefield is a major public art gallery that opened in May 2011 to public and critical acclaim. It exhibits Wakefield’s art collection, the Hepworth Family Gift and the work of major contemporary and 20th century artists. Designed by David Chipperfield Architects, our ten superb gallery spaces and grounds make this one of the UK’s largest and most visited galleries outside London, attracting 850,000 visitors in two years.

As The Hepworth expands on site to occupy a newly created 600 square metre gallery in a 19th century warehouse, and The Yorkshire Sculpture Triangle initiative develops in the region, we are seeking to appoint a highly experienced and well-connected person for the newly created role of Chief Curator. They will work closely with the Director, alongside the Collection and Exhibitions team, to research and develop our contemporary exhibitions programme, both on and off-site.

• A good first degree and a further post-graduate qualification in Art History, Curatorial Studies or Fine Art, or extensive equivalent experience
• An extensive knowledge of contemporary art, of artists and art world networks
• Developing and organising conferences and seminars, contributing to internally convened and external (national and international) learning activity and agendas

Skills / Attributes
•Proven senior-level organisational skills and an ability to work collaboratively
• An ability to work strategically both as part of a team and independently, leading multiple projects and remaining calm under pressure
• Excellent verbal communication skills and a skillful, sensitive and politically astute negotiator, able to cultivate and develop strategic partnerships
• Impeccable writing skills and proven experience of high-quality critical writing on contemporary art and an ability to write text for an approproiate range of audiences and contexts
• Highly diplomatic, with an ability to achieve satisfactory outcomes when resolving sensitive problems and challenges
• Confident public speaker able to represent the gallery and its programmes credibly in the most senior international professional contexts
• Ability to devise accurate financial projections and manage budgets
• Preparedness to travel and work in evenings and at weekends as required
• Highly numerate and literate, possessing strong IT skills

• An established well - regarded reputation for curating contemporary art, with in an informed international perspective
• Extensive experience of working with living artists and their representatives
• Senior curatorial experience gained with in a major gallery or as an independent curator
• A track record of curating shows that received critical acclaim and have popular appeal
• A proven commitment to developing diverse and new audiences for art through programming
• Proven fundraising experience, from corporates and high net worth donors, to help realise ambitious curatorial projects
• Experience of successfully managing and developing complex projects and budgets within an organisational context
• An acknowledged and respected contributor to conferences, lectures and panels
• A strong publishing track record

If you would like to arrange a telephone conversation to discuss the role in confidence with the Director, Simon Wallis, then please contact Laura Whiteman on 01924 247360 to arrange a mutually convenient appointment.

Salary £40,000 or more for an exceptional candidate
Full-time, permanent post
UK-based, with extensive travel opportunities
25+ days annual leave
Contributory pension and other benefits available

Applications for this post should be made by electronically forwarding your CV and Equal Opportunities form supported by a brief covering letter, to Laura Whiteman on recruitme[email protected] or by post to the following address:
Laura Whiteman
The Hepworth Wakefield
Gallery Walk
West Yorkshire

The deadline for applications is 12pm on Monday 8 July 2013. We are unable to accept late applications.
Further information:

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Opportunity: The Museum of Contemporary Art internship - Chicago

Posted by Sofia Landström • Wednesday, June 12. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

The Museum of Contemporary Art internship
Deadline: Fall Term (September – December): 15 July, 2013

The Museum of Contemporary Art internship program welcomes students and recent graduates who wish to broaden their education and professional experience by working and learning in a not-for-profit museum. All MCA departments offer experiential education in a challenging, hands-on environment in exchange for a substantive contribution from talented and interested individuals.

The MCA, in its 220,000-square-foot, state-of-the-art facility, presents its renowned collection and an ambitious schedule of cutting-edge exhibitions as well as educational and outreach programs. MCA interns have the unique opportunity to participate in the development and expansion of these programs and operations.

Interns assist with research projects and administrative tasks including preparing artists’ bibliographies and biographies and responding to general inquiries from scholars and the public about artists and artworks. Interns may also assist with writing gallery labels, data entry, copying articles, typing, filing, and preparing correspondence. Applicants should include writing samples with application. Candidates must have excellent organizational skills and be detail oriented. They should also have computer and administrative skills.

In order to increase diversity in professions related to museums and the arts, the Museum of Contemporary Art seeks diversity in its intern staff and provides equal opportunity to its applicants.
The Application Process

Application Materials
Application materials include the MCA application form, a resume, and two letters of recommendation. If applicable, include your school’s requirements for credit with your application. The curatorial, editorial, and development departments require 1-2 pages writing samples with applications. The graphic design, Multimedia Web and Multimedia Video departments require work samples.

Submitting your application by email
Applications may be submitted electronically by emailing [email protected] and attaching the MCA application form, resume, two letters of recommendation, and any additional materials by the appropriate deadline. Letters of recommendation may be submitted separately with the applicant’s name in the subject line.

When submitting an application by email, please label your materials in the following order; last name, first name, underscore and type of document. For example, if your name is John Doe, your resume should be labeled as follows: Doe,John_resume.

Submitting your application by mail
Application materials may also be mailed to:

Angela Lopez
Internship and Volunteer Coordinator
Museum of Contemporary Art, Chicago
220 East Chicago Avenue
Chicago, Illinois 60611

Application materials are reviewed for approximately four to six weeks after the deadline. Candidates for interviews will be notified by e-mail. Please note that incomplete applications will not be considered.

Further information:

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Job: Curatorial Assistant, Contemporary Art, BRIC

Posted by Sofia Landström • Thursday, May 23. 2013 • Category: Jobs & Opportunities

Curatorial Assistant, Contemporary Art, BRIC
Deadline: Accepts proposals until a suitable hire is found

BRIC is a multi-disciplinary non-profit dedicated to presenting art and media programs that reflect Brooklyn’s creativity and diversity. BRIC also provides resources to launch, nurture, and showcase artists and media makers. All of BRIC’s offerings are free or low cost, to advance access to and understanding of arts and media. Each year, upwards of one million people in Brooklyn and citywide are served through BRIC’s programs. Learn more at

BRIC’s contemporary art programs aim to increase the visibility and accessibility of contemporary art while bridging the gap between the art world and global culture in Brooklyn through exhibitions, public events and an innovative arts education program led in schools around the borough.

The gallery presents several exhibitions each season, primarily thematic exhibitions focusing on Brooklyn-affiliated emerging and mid-career artists. They exhibit art work of widely varying media, from paintings and photographs to site-specific installations, videos and projections, and complex multi-media projects. They work closely with staff in BRIC’s Education program in hosting class visits and mounting an annual student exhibition each spring, and with the Community Media and Performing Arts programs in administering a wide range of cross-disciplinary programming.

In October 2013, BRIC will open BRIC Arts Media House, a major new cultural venue in downtown Brooklyn. BRIC House will include a 3,000 square-foot gallery that will be the anchor contemporary art space in the downtown Brooklyn cultural district. The opening of the facility is anticipated for October 2013. This position will begin in late summer 2013.

Purpose of Position
: The Curatorial Assistant reports to the Director of Contemporary Art and plays a key role in the operation of the Contemporary Art program, with a focus on curatorial duties.

Essential Duties & Responsibilities
- Undertakes administrative tasks related to the planning and production of exhibitions including drafting loan letters and forms, maintaining databases on artists and art works, and developing and maintaining exhibition checklists.
- Acts as a prime liaison with artists throughout the exhibition process. Works closely with Director and Gallery Manager in coordinating varied aspects of the planning of each exhibition and of programs.
- Conducts research for future exhibitions in development including research on potential exhibition artists, creating PowerPoint presentations and other presentations of artists’ images and projects, and researching publications and online sources.
- Writes artist biographies and texts for exhibition catalogues and brochures; coordinates the development of catalogues and other exhibition publications with marketing staff; and prepares texts for wall panels and object labels.
- Coordinates 2 annual artist opportunity programs: the Emerging Curator Program, which provides curators with the opportunity to present an exhibition in our Project Room; and with members of BRIC’s Community Media program, the Media Arts Fellowship, which provides artists with training and facility use at BRIC’s Media Center.
- Oversees administrative work for the Contemporary Art program including ordering supplies, invoice processing, expense tracking, and maintaining the scheduling calendar
- Opportunity to participate in the curatorial process through the research and selection of work for the Video program, Project Room, and spaces around BRIC House.
- Assists with duties related to an annual fundraising Gala, including assistance with recruiting artists for live and silent auctions, and writing the auction catalogue produced for the event.
- Maintain digital and paper files related to exhibitions and programs.
- Oversees the work of curatorial interns.

- Bachelor of Arts degree in Art History or Curatorial Studies.
- Minimum two-years of experience in museum or art gallery.

Skills Required
- A passion for contemporary art; strong knowledge of recent art history, and knowledge of the New York art scene.
- Excellent written and oral skills; strong basic copy editing skills.
- Strong skills in word processing, spreadsheet, database, basic Adobe.
- Highly accurate, detail oriented, and organized. Ability to work effectively on multiple projects and meet deadlines.
- An enthusiastic team player with good interpersonal skills. Will work closely with other Contemporary Art staff and with staff throughout the organization.

Compensation & Schedule
Salary is $33,000 + full benefits package. Some evening work required.

How to Apply
Email [email protected] with subject line: Curatorial Assistant. Please write a brief cover letter in the body of the email and attach resume. Only those candidates selected for an interview will be contacted.

Further information:

Defined tags for this entry: assistant, brooklyn, ,

Job: Assistant Curator of Contemporary Art, Cleveland Museum of Art

Posted by Sofia Landström • Thursday, May 16. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Assistant Curator of Contemporary Art, The Cleveland Museum of Art
Deadline: June 28, 2013

The Cleveland Museum of Art was founded in 1913 “for the benefit of all the people forever.” 1 We strive to help the broadest possible audience understand and engage with the world’s great art while honoring the highest aesthetic, intellectual, and professional standards. They are proud to be one of the world’s most distinguished comprehensive art museums and one of northeastern Ohio’s principal civic and cultural institutions.

The museum’s Contemporary Art department seeks applications for the position of Assistant Curator of Contemporary Art. Working under the direction of the Associate Curator of Contemporary Art, the individual who is appointed to this position will assist in the stewardship, programming and development of the museum’s important holdings in this field. Candidates should possess a broad familiarity with the art of the 20th and 21st centuries, with a focus on the period from 1960 to the present day, a demonstrated knowledge of museum practices, excellent organizational, interpersonal, and communication skills, a commitment to exhibitions, collector cultivation, and a willingness to serve diverse public constituencies.

Include the interpretation and presentation of the collection; the development and coordination of special exhibitions and programs; research and publication on the collection; assisting with acquisitions; educational programming; and donor relations. PhD or M.A. in Art History or related discipline preferred. Candidates must have a minimum of three years relevant experience in the field.

Applications, including a letter of interest, curriculum vitae, writing sample, and names of three references, should be submitted by June 28, 2013.

Further information:
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Job: Director, The Salzburger Kunstverein

Posted by Sofia Landström • Thursday, April 25. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Director, Salzburger Kunstverein
Deadline: 15 May, 2013

The Salzburger Kunstverein is looking for a new director as of January 1, 2014

The Salzburger Kunstverein is a space in which to analyse art, art theory, and cultural policy in Salzburg. The Kunstverein offers the opportunity to meet artists and encounter current trends in contemporary visual art. Our program focuses on the lively discourse between artists in all areas and with the public. The Künstlerhaus building, owned by the Salzburger Kunstverein, houses three different exhibition areas and 21 ateliers for artists and art initiatives. The task of the Salzburger Kunstverein was to promote and sell contemporary fine art from the territories of the monarchy and neighbouring foreign countries. Like all art associations the Salzburger Kunstverein was therefore a forerunner model of the private galleries. Initially the pictures were distributed similar to prizes in a raffle in order to spare the middle class the need to decide which works of art to select.


• Design and execute exhibitions and events
• Publish catalogues and other publications
• Manage the Salzburger Kunstverein and the Künstlerhaus (including the artists and art initiatives’ studios)
• Fundraising


• Degree in art history or equivalent qualifications
• Curatorial experience
• Excellent knowledge of contemporary art
• Management experience
• Leadership skills and ability to work in a team
• Residence in Salzburg
• Excellent organization and communication skills

We offer a five year contract with the possibility for renewal

Your written application should include a CV, a list of published works, a photo, copies of certificates, references, and your vision of how you would design the program (maximum of about two A4 pages) and shall be sent by May 15, 2013, at the latest to:

Salzburger Kunstverein
Hellbrunner Straße 3
5020 Salzburg, Austria
e-mail: [email protected]

For more information see our website:

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Pick 'N Mix #66

Posted by Mikhel Proulx • Tuesday, April 23. 2013 • Category: Pick 'N Mix

- Curator Eileen Legaspi-Ramirez highlights some of the issues at stake in the Guggenheim Foundation's transnational curatorial endeavours for their UBS MAP Global Art Initiative. Legaspi-Ramirez: “perhaps some collateral pleasure could come out of opening up to more than just tokenistic multiplicity and requisite pleasantries.”

- Julia Halperin has visited the Dallas Museum of Art and recognized a trend in American museums toward membership reform, free entrance, and guards clad in "laid back khaki pants and button-down shirts."

- Caitlin Jones elaborates on the place of expanded cinema and Internet art in the history of contemporary art: Conceptual Blind Spots, Mousse Magazine.

- Whitney Museum photography curator Elisabeth Sussman talks about her curatorial process with iD Magazine: “Some curators work from books and articles that have been written about the artist. I don’t like to do that. If the artist is alive I really would like to learn from them.”

Defined tags for this entry: art history, , transnational

REVIEW: Every Curator’s Handbook

Posted by Sofia Landström • Tuesday, April 16. 2013 • Category: Reviews & Resources

Review: Every Curator's Handbook -'s_Handbook.pdf
by Sofia Landström

This compendium offers hands-on professional insights wherein different authors from different points of view share experiences from their professional careers as curators. The reader gets a specific and detailed overview of what a curator’s work might look like beyond theory.

“Every Curator’s Handbook” deals with multiple curatorial issues from collaborations to funding. With first-hand experiences and reflections from past projects, both emerging and established curators narrate the text in an accessible and educational way. It’s notable that the aim of this project is to create a resource that deals with the practical questions within the typical curatorial career, and takes a step back from the usual theoretical issues which are always present in the background of any art-related field. This compendium welcomes emerging voices that expands from the Western point of view to Armenia, Latvia, and Ukraine in addition to the participants from Europe and North America.

This seventy-page publication contains twenty short articles which deal with specific experiences or projects. One of the first articles, written by Haizea Barcenilla discusses how every curatorial project (even if it’s not considered collaborative) is an actual collaboration between the involved participants, from artist to institution. In this text, “The Difficult but Enriching Paths of Collaborative Practice”, she relates hands-on experiences from collaborations that worked out well and those that didn't. Her point of view is that curatorial work today is becoming more and more collaborative. Barcenilla argues that the profession is becoming more open for dialogue, and the possibility of producing something enriching increases dramatically as collaborative work increases. With this text, Barcenilla sets a particular tone for the rest of the compendium: she, as well as the other authors, focuses on curatorial work as a profession and a field rather than explaining what defines a curator or who a curator is.

Overall, in this compilation, the authors all articulate how hard it is to define what a curator is and what the right path is to become one -- there seems to be no right or wrong answer. In the article “In Conversation with Curator Richard Julin” by Anne Klontz, she speaks with the renowned curator Richard Julin, who recounts a traditional story on how to become a curator. Julin explains how he worked as a freelancer in the field of contemporary design in Stockholm and worked his way up in the hierarchy, a common way to get in to the profession. His career story, by describing the conventional way of becoming a curator,opens it up for other articles in the compendium to describe more unconventional ways.

Indeed, what makes this handbook intriguing are the various career choices described in the articles, everything from Richard Julin’s quite traditional career path to more progressive ones. Hilary Jack and Paul Harfleet’s article is one which describes a more progressive and challenging way of how they became noted in the curatorial field. They set up their own artist led space called Apartment in Manchester after they finished their Master's course in Art in 2003. Apartment was a spontaneous initiative, run from a bedroom on the sixth floor. They describe how their urge to set up something provocative and startling made Apartment a well-attended institution on the cultural map, and made them into curators. Even though Jack and Harfleet never considered themselves to be curators, they soon found curating to be a major part of their CVs when the Apartment project closed down in 2009. Since then they have taken part in commissioned curatorial projects, thanks to their previous work in the Manchester apartment -- something they never foresaw when they started in 2003. Essentially their innovative ideas and eagerness to start something made them into curators.

Ultimately, the best reason to read this book is because it tells stories like Jack & Harfleet's, putting curatorial work into a practical context. “Every Curator’s Handbook” does not aim to be a theoretical or research based book., This is a field in constant evolution, and this book provides a wide range of ideas within curatorial practice and creates a bridge between old and new ways of working.

On the whole “Every Curator’s Handbook” gives readers an insider view of international curatorial practice from East to West, and it gives the reader a wider understanding of the many directions in curating. One flaw is that the texts are often quite short, which does not leave enough space to provide answers to the many questions the reader might face. There are many good examples of exhibitions and projects that are hands-on in this book, showing potential for providing many valuable insights for anyone interested in curating, but the texts often only scratch on the surface. What this publication clearly demonstrates is that there are many ways to be a curator today (another reason why it would be impossible to cover everything 70 pages). It might not be a fully comprehensive handbook then, but as a book providing many interesting narratives and examples of real work in the field, it’s perfect.

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Job: Curator of Contemporary Art, The Southeastern Center for Contemporary Art

Posted by Sofia Landström • Friday, April 12. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Curator of Contemporary Art, The Southeastern Center for Contemporary Art
Deadline: May 8, 2013

The Southeastern Center for Contemporary Art seeks to enhance perspectives, inspire community and ignite new ideas at the intersection of art and you. SECCA will be a dynamic center for exploring the best in contemporary art. We see SECCA as a vibrant home and preferred place for our community to engage with us, and one another, in a lifelong learning experience with the arts.

The Southeastern Center for Contemporary Art (SECCA) in Winston-Salem, North Carolina is currently accepting applications for CURATOR OF CONTEMPORARY ART. The Curator of Art is responsible for overseeing the Museum’s program of contemporary art, assuring a proper balance of programs and a high level of quality in the presentation and interpretation of the art. The Curator, with appropriate programs staff, develops 6-10 temporary exhibitions per year in accordance with approved budgets and interprets, implements and evaluates SECCA exhibitions program. These projects are among the most complex and expensive programs undertaken by the institution, requiring a high degree of coordination among the various departments. In addition, the Curator organizes temporary art projects and traveling exhibitions; negotiates loan agreements with museums, galleries, artists, and private collectors; writes text for exhibition catalogues, wall labels, or related educational materials; and collaborates with museum educators to develop appropriate educational programs.

This Curator participates in a variety of educational programs and initiatives, delivers lectures and gallery talks, teaches docents and teacher groups, and participates in seminars and other scholarly colloquia. Knowledge and abilities required are: sound general knowledge of the history of art, with expertise in contemporary art, craft and design and including new media and related art forms; clear and effective communication skills, both oral and written; proficiency with current information technologies; Independent judgment: the ability to analyze problems and to make well-considered choices; planning and organizational skills; strong interpersonal skills marked by honesty, tact, discretion, and enthusiasm; flexibility and openness to innovation; ability to work effectively under often-intense pressure; self-motivated, self-directed, and ability to work in a team setting. A Master of Arts degree in the history or art with a concentration in modern and contemporary art and at least 5 years experience in an art museum or other visual arts institution, or an equivalent combination of education and experience is preferred.

SECCA is an operating entity of the North Carolina Museum of Art, an agency of the North Carolina Department of Cultural Resources. All applicants must complete & submit a State of North Carolina Employment Application to the Department of Cultural Resources (DCR), Human Resources Division (HR).

To submit an application for Curator of Contemporary Art, please link to Application deadline is May 8, 2013 at 5:00 pm EST.
Further information: Further information:

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Opportunity: Curatorial Intern - Summer 2013, BRIC Arts

Posted by Sofia Landström • Thursday, March 28. 2013 • Category: Jobs & Opportunities

Curatorial Intern, Contemporary Art (Summer 2013)
Deadline: Open until filled

BRIC’s contemporary art programs aim to increase the visibility and accessibility of contemporary art while bridging the gap between the art world and global culture in Brooklyn through exhibitions, public events and an innovative arts education program led in schools around the borough.

Purpose of Position
The Curatorial Intern will be based at BRIC Rotunda Gallery in Brooklyn Heights and assist with exhibition and artist research, writing projects, and preparation of loan forms and other exhibition-related administrative duties. This position provides an excellent opportunity to learn about curating, exhibition preparation, publication development and editing, and the administration of a not-for-profit art space.

Essential Duties & Responsibilities

Work will be focused on the exhibitions and programs to take place during the inaugural season of BRIC’s major new facility, BRIC Arts | Media House, opening to the public in downtown Brooklyn in October 2013. The curatorial intern will conduct research on artists, write brief artist bios, assist with the preparation of texts and materials for exhibition catalogues, prepare loan forms and other administrative documents, and compile information for exhibition binders. Interns also assist with errands and general office tasks.

All Contemporary Art interns have the opportunity to write for BRIC’s blog and for our other social media sites. As time permits, interns and staff will visit other exhibition spaces in Brooklyn. Interns will also be asked to help staff prepare for our move to BRIC House at the end of summer.

Please note that the Gallery will be closed during summer. Interns will work in the office and assist with exhibitions and programs that will begin in October 2013.


Students majoring in art history or curatorial studies, as well as those who have completed their junior or senior undergraduate year, will be given strong preference for this position.

Skills Required

Strong general knowledge of contemporary art and culture
Excellent writing and research skills
Good phone and communication skills
Highly organized and detailed; ability to keep track of information on artists, art works, and progress on various projects.
Knowledge of PC and Mac computers
Computer programs including , Microsoft Word and Outlook, PowerPoint, Excel, and Photoshop

Other requested skills include digitizing and archiving images and experience with Illustrator and/or InDesign.

Office hours are Monday-Friday, 10-6. Interns are asked to work a minimum of 20 hour per week for a period of at least eight weeks. BRIC Rotunda Gallery is located at 33 Clinton Street in Brooklyn Heights, near multiple subway lines.

How to Apply

Please send resume and brief cover letter to Elizabeth Ferrer at [email protected]. Selected applicants will be contacted for brief interviews to be followed, if possible, by in-person interviews at BRIC Rotunda Gallery

Further information:

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Job: Director, Modern Art Oxford

Posted by Sofia Landström • Tuesday, February 19. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Director, Modern Art Oxford
Deadline: 1 March, 2013

Modern Art Oxford is a leading organization in the UK for the presentation of contemporary art. The gallery has a strong national and international reputation established over 48 years of influential exhibition-making. Modern Art Oxford has presented the first UK solo exhibitions of work by artists including Joseph Beuys, Donald Judd, Sol LeWitt, Marina Abramovic, Thomas Houseago and Jenny Saville. It introduced figures such as Rodchenko and Mayakovsky to UK audiences and continues to programme the work of both emerging and established practitioners from across the globe. Modern Art Oxford’s previous directors include Sir Nicholas Serota, David Elliott and the late Michael Stanley.

The Council of Management is seeking to appoint a creative and dynamic Director to lead the gallery during a key phase in its history. The successful candidate will be required to shape the future direction of the organization, and to ensure the continuation of its vital role in the development and understanding of contemporary art.

The new Director will be responsible to the Council of Management for the leadership and strategic direction of the organization. He or she will formulate the vision and ensure its successful implementation in consultation with the Council and with the support of the Senior Management Team. The Director will have overall responsibility for all aspects of the organization's work, including artistic, financial, operational, commercial and fundraising activities.

Role Specification
Modern Art Oxford is seeking a creative and intellectually dynamic Director to lead the organization.
He or she will devise a critically rigorous and distinctive programme that will include a long term strategy for Modern Art Oxford beyond the 50th anniversary. This should demonstrate an awareness of current issues in contemporary art and display an inventiveness that extends discourse in imaginative and ground breaking ways.

Key Responsibilities
The Director is responsible for the leadership, vision and strategic direction of the organization.
The Director has overall responsibility for all aspects of the organization work including artistic direction, financial, operational, commercial and fundraising activities.

Skills, Knowledge and Experience
Demonstrable experience of leadership within a building based contemporary art organization of international standing.
An outstanding knowledge and critical understanding of modern and contemporary visual art.
An established reputation for developing and implementing artistic policy and translating this into a programme of high profile exhibitions and events.
Proven capacity of successful fundraising from a variety of sources including public, private and individuals.
Proven experience of financial and budget management.
A commitment to broadening public access to visual art and to strengthening links local and international communities.
Excellent communication and influencing skills.
Proven ability to lead, motivate and manage staff effectively.
Demonstrable experience of business planning and its implementation.
A comprehensive working knowledge of the international contemporary art sector. A broad international network of contacts encompassing both artists and institutions.
A commitment to equal opportunities and diversity. Preparedness to travel and to work outside core hours.
Evidence an awareness of innovative thinking in the current UK funding climate, of issues facing arts organizations in the UK and their relationship with Arts Council England. Knowledge of local government would be desirable.

To apply please send a full CV, including the names and contact details of two referees, one of whom should be your current or most recent employer and email to [email protected]. Please also enclose a statement, which sets out your interest in and suitability for the post. Please note the requirements of the person specification. An overview of Modern Art Oxford funding arrangements, management accounts and development plans will be provided to shortlisted candidates. Applications should be received by 5pm on March 1st, 2013. Interviews are likely to take place during week commencing March 18th, 2013.

Further information:

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REVIEW: Rethinking Curating: Art After New Media

Posted by Katerina Gkoutziouli • Sunday, February 10. 2013 • Category: Reviews & Resources

Beryl Graham and Sarah Cook. Rethinking Curating: Art After New Media. Cambridge, MA, London, England: The MIT Press, 2010.

by Katerina Gkoutziouli

“Rethinking Curating. Art After New Media” by Beryl Graham and Sarah Cook has been a much-awaited book for those working in the field of new media and curating. In 2000, the authors launched CRUMB [Curatorial Resource for Upstart Media Bliss], an ongoing online resource and mailing list for curating new media art, which operates as a place for research, networking and discussions on the subject. This book is a consequence of all those years of research and work in the field by the authors, coupled with the input from the CRUMB community.

Acknowledging the fact that new media art is a contested term on its own, the authors make clear from the very beginning that they seek to define new media art as a ‘set of behaviours’. Thus, they prefer to call it “Art after New Media”. Besides, their primary focus is on the behaviours/characteristics of the artworks and then later on the various media used for production, distribution and presentation. By doing so, they address the possibilities of discussing new media art in the broadest context of contemporary art as seen through previous moments in art history and through a strong illustration and analysis of projects, exhibitions and practitioners’ views on the subject. As Steve Dietz puts it in the introduction “it's not a book about new media, it is a book about art; it’s not a book about curating new media, it's about rethinking curating” [p. xiv].

The first part of the book is concerned with putting new media art in context by illuminating its characteristics and by reviewing the convergence points between older and newer art forms and methods. To understand what new media art is and how it behaves, one first needs to relate it to a broad set of theories and histories that not only respond to an art context but also to technological histories and other cultural forms. This book is not about the debate between Turing Land vs Duchamp Land as Lev Manovich has put it, but it is about finding and looking at the correlations between these two lands.

The concept of ‘The Art Formerly Known as “New Media”’, challenges the very notion of the new, almost provocatively questioning curators who are seduced by the novelty and not by the context that the artwork seeks to generate. Can new media art be interpreted by its behaviors and be explored through computability, connectivity and interactivity?

Having these characteristics in mind, the authors seek to unfold the particularities of two main issues for art, namely space and time. They discuss the analogy between the dematerialization of the artwork in the 60s and 70s (something that was then framed under the terms “conceptual art” and “systems based art”) and the immateriality of today’s art within networks and virtual spaces. The art space itself has extended and so has curatorial practice. Which brings us to the question of what the role of the curator is in a distributed networking condition? And how have the variable manifestations of space redefined curatorial decisions? The authors set out to explore not only how significant the space is for art but also how art can be transmitted and communicated in different contexts. “When the work is immaterial – framed and understood only through participation in the system itself- then the network of its distribution is highlighted”. [p.60]

On the other hand, space and material, of course, do exist in new media but we can trace the differences, for example, between real-time projects, the immateriality of code and algorithm on a computer screen and virtual reality projects. It becomes apparent then that the challenge for curators remains in bridging the gap between virtual and physical spaces.

In new media art, it is difficult to differentiate between time and space, as both seem to converge in the behaviours of the media such as liveness, connectivity and computability. The distinction between “real-time”, “time-based” and “live” is useful in order to comprehend the concept of time. For example, the concept of real-time is different in video art from other forms of new media art. As the writers put it: “Real-time for video means instant feedback…while… real-time for computers concerns instantaneity of processing and manipulation of data” [p.97]. Curators need to constantly reinvent methods in order to respond to the needs of an artwork and correspond to the ways that the institution, the audience and the exhibition itself interpret time.

The authors move on to an investigation of participative systems taking into consideration the interactive, participative and collaborative behaviours of new media art and they ask the question “Who is involved in the systems, and how?” [p.111] An analysis of new media art projects, such as Rafael Lozano Hemmer’s “Body Movies, Relational Architecture No.6” (2001) and Harrell Fletcher’s and Miranda July’s “Learning to love you More” (2002-) leads the discussion to the varying dynamics triggered by the use of different media. Participation is a tricky behaviour, as it might be prompted by the art, the media used, the institution, the gallery, the curator and most importantly by the audience. However, there are still various factors at play that keep redefining the levels of participation, a fact that turns curatorial activity itself into a hybrid practice.

The second part of the book looks into the practice of curating in terms of contexts, practices and processes. Starting with an account of the different working realities of a curator, such as working in a museum, working on both a freelance basis, and as part of an institution, the authors consider the varying ‘responsibilities’ of a curator. The work of a curator usually aims at creating a structure or a process. However, especially when it comes to new media, curating can be identified as having several experimental modes and exhibition models, which the authors seek to unravel in the following chapters.

The analysis that they put forward highlights not only the theoretical aspects of curating but also challenges the ways that curators and institutions work. They look at how new media art is perceived in terms of interpretation by the institution and the audience when it comes to the method of display. Providing an extensive list of examples, ranging from online platforms such as Tate Media and exhibitions such as 010101 at SFMOMA (2001), the authors discuss the challenges of new media when it is archived and presented online as interpretation material and when it is accompanied by interpretive material in physical spaces. The ways that new media art enters the museum are examined, as it is often through educational departments. Questions regarding audience reception and interpretation of new media art are also explored relating to themes of curatorial practice, such as how you build an audience for such practices and who your audience is when it comes to curating in online spaces.

Looking at theoretical issues (such as how a curator’s decision might be influenced by the art museum) as well as at practical issues (such as the technology required for a new media exhibition along with marketing, sponsorship, archiving and collecting) the authors explore the ways that new media art behaves in such contexts. The call for curators to acquire a crossover approach on the subject in order to incorporate this type of work in a museum framework is increasingly becoming urgent.

For this reason, other modes of curating are explored in the book, such as the festival, publishing, the public space and the lab among others. With well-documented case studies such as New Media Scotland, the V2_ Lab, Rotterdam, and independent art projects like Kate Rich’s “Feral Trade”, the authors attempt to investigate the experiments and the boundaries between art, research and technology. These strategies lead to questions such as how different audiences perceive art and how the curator operates within hybrid art contexts.

Furthermore, collaboration cannot be absent when we talk about new media art and it is a subject discussed in relation to other ways of curating, outside of the institutional context. In this light, artist-run organizations and alternative spaces that focus on working methods of learning and sharing serve as examples to highlight the collective processes undertaken between artists, curators and audience. Exploring the interplay between roles that range from ‘the artist as curator’, ‘the audience as curator’ to ‘no curator at all’, the authors seek to address the particularities of new media art, including interconnectedness and networking, that allow for these experimental structures.

Given the fact that new media art tends to commonly be described or categorized by its medium, this book sheds new light on the various approaches a curator might take, as well as on the methodologies of historicizing and creating contexts for such work to be explored, analyzed and reviewed.

Ultimately, the best reason to read this book is because it puts new media art in context. It serves as an insightful compilation of projects, exhibitions, and theories on new media that might have otherwise gone uncontextualized. “Rethinking Curating” does not aim to serve as a media-specific book since new media art is an unstable field in constant evolution, but as a curatorial handbook that provides a comprehensive analysis of curatorial practice while creating a semantic bridge between older and newer art forms.

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