Curating.info

SCAD seeks an assistant curator. The person in this position must possess a strong knowledge of modern and contemporary artists as well as SCAD artists. He or she must monitor artist activity, research artists for exhibition consideration, and develop comprehensive proposals for exhibitions featuring SCAD and visiting artists that further the mission, vision and values of the university.

The assistant curator will work with M.F.A. candidates to guide them in scheduling, planning and installing M.F.A. exhibitions in accordance with SCAD guidelines; develop exhibition checklists for approved exhibitions; communicate effectively and professionally with prospective artists about exhibition spaces, logistics and deadlines prior to the exhibition; oversee layout and installation of exhibitions as needed with the exhibitions operations team; prepare itineraries for visiting artists and host as needed; and conduct studio visits with artists as needed.

The assistant curator will research art fairs, national and international calls for entry, and other opportunities for SCAD artists; write show summaries, catalog texts (and preparatory research) and invitation/ marketing texts for each exhibition; travel, as needed, to conduct research and/ or promote SCAD and its exhibition program; and gather images and other artist press materials for publications, docent preparation and press needs.

The successful candidate will develop relationships with SCAD faculty in various departments, fostering dialogue to create shared goals for programming; develop and execute community-based and educational programs to complement major exhibitions; present curatorial talks and tours of exhibitions to the SCAD community, patrons and public; conduct class visits as requested; and network with local arts organizations and media as required. This position requires at least three years related experience in a museum or gallery setting; a Master of Arts or Master of Fine Arts degree from an accredited institution in art history, allied art, general art or education.

For further information, please visit https://scadjobs.com/applicants/jsp/shared/frameset/Frameset.jsp?time=1317306582248

QUAD is looking for an experienced, creative and highly motivated Curator to join it's world class team. This role will contribute to the development and curation of an ambitious innovatory programme of national and international contemporary arts though exhibitions, major projects and related programme in QUAD, Derby.

The role will be responsible for the delivery and project management of exhibitions and the presentation of QUAD's programme to the public, management of related project staff, interpretation, publications, residencies, events and resources to ensure that the exhibitions programme is delivered to highest standards.

Closing date for applications: 6th October 2011 at 12 noon

Interview date: 13th October 2011

Salary £22,000 - £25,000 per annum

For further information, please visit http://www.derbyquad.co.uk/vacancies/pg4

Nottingham Contemporary is seeking a Head of Exhibitions.

Salary circa £34,000 pa, full time, depending on experience.

Nottingham Contemporary is an international art centre with a strong local sense of purpose. The centre opened in November 2009 in an outstanding new 3000 sq metre building by Caruso St John in the middle of Nottingham. Nottingham Contemporary has a national and international reputation for our artistic programme and have welcomed nearly 500,000 visitors to date.

The centre is now seeking a Head of Exhibitions to work in partnership with the Director, Alex Farquharson, in the research and development of Nottingham Contemporary’s exhibitions programme, which consists of four exhibition seasons a year and other programming strands. The postholder will also be responsible for the successful planning and delivery of the artistic programme and the management of the Exhibitions Team. He or she will be a member of the Management Team and contribute to the strategic development of the organisation.

The deadline for applications is Monday 17th October 2011, 5pm.

Interviews will be held Wednesday 16th November 2011.


The application form and further details can be found on
http://www.nottinghamcontemporary.org/opportunities


Nottingham Contemporary is funded by Arts Council England and Nottingham City Council. Nottingham Contemporary is an equal
opportunities employer.

Program Goal
The Art & Law Residency provides an intellectual and artistic setting for participants to engage in ongoing discussions and debates that examine the overlap and disconnect between artistic production and the law from historical, social, ethical and intellectual standpoints. Using law as both a discourse and medium, new visual artwork and critical writing will come into being through the Program. All the participants will also gain experience and knowledge they can carry into the future beyond the Program.

Overview
The core of the Program will be semi-monthly Seminars directed at the examination of current art and law issues. Seminars will take place at the law firm of Morrison & Foerster LLP. Faculty as well as leading legal scholars and visiting artists will lead these Seminars. During the course of the Program, artists and writers will develop new projects and papers and receive support from Faculty on a regular basis to discuss and address the aesthetic, practical, philosophical, legal and judicial aspects of their work. The Residency will culminate in a public Exhibition and a Symposium held in New York City where artists will exhibit their projects and writers will present papers. Curators will work with The Residency curator in conceptualizing and organizing The Residency exhibition.

Program Provides:

1. Seminars: Twice a month, a legal scholar, artist or Program Faculty will lead Seminars as well as assign related readings. Topics for lectures and group discussions will include practical, theoretical, philosophical and speculative perspectives on art and law.

2. Legal consultation and representation: Access to private consultations with attorneys and work with assigned pro bono representation for individual projects as required. Additional legal advice and guidance in the form of individual meetings to discuss general practical and theoretical questions may be arranged.

3. Studio Visits and Mentoring: Visual artists will benefit from studio visits by visiting artists and curators. Writers will be assigned a mentor to help with the conceptualization and development of their papers.

4. Exhibition and Symposium: Writers will present papers at an evening Symposium and visual artists will exhibit their final work in an exhibition. Curators will work with The Residency curator in conceptualizing and organizing The Residency exhibition. Curators will also write a 2,000 word essay about The Residency exhibition. A modest stipend will be provided towards production costs and/or research materials.

5. Van Lier Fellowships: VLA is pleased to announce that the residency will offer Van Lier Fellowships in its second and third years which VLA administers on behalf of the Van Lier Fund of the New York Community Trust. Van Lier Fellowships are made possible with the generous support of the New York Community Trust’s Edward and Sally Van Lier Fund.

Participation
Participants are required to attend semi-monthly Seminars as well as participate actively in group discussion and individual project and paper development. Participants who successfully complete the Seminar series will participate in the final Exhibition and Symposium. The semi-monthly Seminars will be held on Mondays from 6-9 pm at the law firm of Morrison & Foerster LLP. Seminars commence in January 2012.

Eligibility
Applicants must have a minimum four-year professional record. Visual artists working in all media may apply. Writers may have backgrounds in Art History, Art Theory, and Art Criticism and be strongly engaged with contemporary visual art. Artists and writers interested in issues of constitutional law, contracts, property, free speech and intellectual property are especially encouraged to apply.

How To Apply
Please submit all parts of the applications by mail or in-person by October 17, 2011 (in-office receipt) to:

.................................
VLA
Art & Law Residency Program
1 East 53rd Street, 6th Floor
New York, NY 10022

.................................

1. Statement:
Please indicate if you would like to participate as a visual artist, writer or curator. The statement should discuss your work, educational experience, intellectual interests, as well as your interest in the Program and how the Program may benefit your work. The statement should be no longer than two pages.

2. Resume or CV:
Detailing most relevant accomplishments including education, exhibitions, residencies, publications, awards. Please include name, address, phone, email and website.

3. Two References:
Include only names and contact information. Letters are not required.

4. Work Sample:
For visual artists: 15-20 images of recent work on DVD or CD, or up to 5-minutes of recent video on DVD. Save images as .jpg, 1000 x 1000 pixels at 72 dpi. Please include an image list detailing title, date, materials, and dimensions or running times.

For Writers:
Two recent writing samples, totaling no more than 20 pages, double spaced.

For Curators:
A writing sample (catalog, journal, etc.) no longer than 20 pages and 10 to 15 images of recent curated exhibitions.

.................................

Other submission guidelines:
Include your name on each page you submit. Do not submit original material, VHS tapes or 35 mm slides. Applications will not be returned. Late applications will not be considered.

Please note: There is no application form or application fee.

Application materials will be treated with care; however, the Program is not responsible for their loss or damage. Please include a self-addressed stamped envelope if you would like your DVD or CD returned. Additional materials will not be returned.

Selection and Notification Process
Participants will be selected by Program Faculty on the strength of their application and demonstrated potential for vigorous debate and group discussion. Candidates should show promise for artistic and intellectual growth in their own work during the course of the Residency as well as any possible contribution their work and research may make to the field at large. Selected participants will be notified December 1, 2011 .

Application inquiries via e-mail are preferred: ssarmiento(at)vlany.org

For further information, please visit http://vlany.org/residency_info.html

- In Manila, Catholic groups used intense pressure tactics to shut down an exhibition. The curator, J. Pacena III, says: "I am shocked and appalled by how our civil liberties were exploited to satiate the sensibilities of a raucous mob."

- From a report on the British Art Show by Amy Fung: "While their curatorial focus has been on selecting individual works of merit, history cannot be escaped, and motifs cannot be suppressed."

- "If they choose to work in India, young curators will need to use the opportunities provided by the private sector as there is, after all, no corresponding growth in state-run or public museums and galleries." From an interview by Natasha Ginwala with Geeta Kapur on the curatorial context in India.

- In Toronto, plans for a two-year, $420,000 contract for a curator who would choose artwork for a new public transport line have been cancelled. The argument was that the transport agency should "focus on getting the line built". Certainly, although planning how art will be integrated from the start is surely better than retrofitting it later.

- Just found this Feminism and Curating wiki. Looks like the start of a good resource.

- "Art is at a crossroads. It has exhausted its possibilities and needs to expand." - Zhang Ga, Curator of Translife exhibition at NAMOC, China

- Last but most definitely not least! You surely saw our announcement about the first Curating.info Fellowship. Download the application form here, applications are due October 21! Also please consider supporting the financing of the Fellowship with a donation to our crowdfunding campaign. Looking forward to your generous demonstrations of support and your applications for the first Fellowship!

Dear readers:
Just a couple days ago we have released information on an exciting new venture: the Curating.info Fellowship.

The Curating.info Fellowship is a paid opportunity for an individual to conduct curatorial research and produce an exhibition for the 2012 exhibition season at the Centre for Contemporary Arts (CCA) Glasgow, a dynamic organisation in one of Europe's most culturally-vibrant cities. The Fellowship is funded partly by CCA, and partly by the Curating.info community itself through a crowdfunding campaign.

There are very few opportunities to conduct curatorial research and work on curating an exhibition with minimal creative constraints, especially for emerging and mid-career curators. While there is plenty of unpaid work out there, there is a real need for quality career opportunities that are paid and that also offer a real result: your own curated exhibition. This need was the driving force in creating the Curating.info Fellowship.

As a reader, you know that Curating.info is the leading resource for curators of contemporary art on the web, providing information and editorial content to curators free of charge since its inception in 2006. Since 2006, I have never appealed directly to the readership for any funds, simply managing and improving the site as a labour of love. With this new project, I am finally appealing for donations -- though not to run the site itself! -- but to support this great opportunity for one of your colleagues (or, if you choose to apply and you succeed -- an opportunity for yourself!)

All the funds raised through our crowdfunding campaign will go directly to paying the Fellow a professional fee, and any funds in excess of our goal will go towards next year's Fellowship. The site we are using, RocketHub, is not an investment or charity, but just a fundraising platform where supporters can help us provide this Fellowship. Supporters will get rewards ranging from acknowledgement to art publications to mixtapes to stickers, and more, depending on the level of support.

I hope you will donate to this campaign, and I hope you will apply for this opportunity as well! The CCA is a fantastic institution with a long history in Glasgow. At its centrally-located premises on Sauchiehall Street, CCA has multiple gallery spaces, a cinema, cafe/restaurant, bar, meeting/lecture spaces, and bookshop. I partnered with the CCA for this Fellowship because it is an institution I know well and trust; also it is simply an interesting place in the heart of a wonderful city and led by a visionary director, Francis McKee.

Applications for the Fellowship will be accepted until October 21 2011. Get the application pack here: http://curating.info/pages/fellowship.html

Please spread the word, donate generously, and apply to be the first Fellow!

Many thanks,
Michelle Kasprzak
Founder and Editor-in-Chief, Curating.info

Image: CCA Glasgow

The National Gallery of Art is pleased to announce two postdoctoral curatorial fellowships for 2012–2014, funded by the Andrew W. Mellon Foundation. These are two-year fellowships with the possibility of renewal for a third year. The fellowships provide curatorial training and support scholarly research related to the collections of the National Gallery of Art. Fellows are fully integrated into a specific curatorial department with duties, privileges, and status equivalent to an assistant curator. Time is divided between specific projects and general curatorial work within the department, which includes research on the collection and new acquisitions, work on the presentation of the collection, participation in aspects of special exhibition projects, and opportunities to give public lectures. Each fellow will plan and complete a project in consultation with his/her supervising curator.

Andrew W. Mellon Postdoctoral Curatorial Fellows work full-time and may begin their term at a mutually agreed upon date (as early as February 13, 2012, and not later than September 17, 2012). The stipend is approximately $47,500 per year, adjusted annually. Fellows are eligible to receive health benefits and public transit subsidies. This is a two-year fellowship that carries the option of renewal for one additional year at the Gallery's discretion.

Additional information and application procedures are available at http://www.nga.gov/education/fellowed.htm, by email: intern(at)nga.gov, or by calling (202) 842-6257.

Applications must be received by December 1, 2011.

Job Requirements
Consideration is given to candidates working in fields represented by the Gallery's permanent collections. The doctoral degree in art history (or the equivalent in countries outside the United States) must have been or will be officially conferred within three years of the start date of the fellowship. Applicants from all backgrounds are encouraged to apply. This is an international program.

Graduate Curatorial Internships at the National Gallery of Art provide in-depth training for advanced PhD students and recent PhD recipients interested in gaining curatorial experience in a museum setting. Interns work with curators on permanent collection and exhibition projects and attend a weekly seminar that introduces the staff, departments, programs, and functions of the Gallery. The duties and responsibilities are comparable to those of curatorial assistants.

Graduate Curatorial Interns are in residence at the Gallery from September 17, 2012, to May 17, 2013, and work full time. Interns receive a stipend of approximately $30,000 that is subject to all applicable taxes.

http://www.nga.gov/education/interned.htm, by email: intern(at)nga.gov, or by calling (202) 842-6257.

Applications must be received by 5 January 2012.

Job Requirements:
Eligibility is limited to doctoral students who are in the advanced stage of their dissertations and to recent PhD recipients (dissertations must have been filed no earlier than September 2010). Neither previous museum experience nor a stated goal of a museum career is required. Applicants from all backgrounds are encouraged to apply. This is an international program.

Curating.info Fellowship

Curating.info is pleased to announce a new curatorial fellowship in collaboration with the Centre for Contemporary Arts (CCA) in Glasgow. Commencing in 2012, the Curating.info Fellowship is a paid opportunity for an individual to conduct curatorial research and produce an exhibition at the CCA.

In response to the need for paid hands-on experience in curating, Curating.info Founder and Editor-in-Chief Michelle Kasprzak designed the Curating.info Fellowship as a way to facilitate this essential experience. The inaugural Fellowship will take place in partnership with Centre for Contemporary Arts (CCA) Glasgow, a dynamic organisation in one of Europe’s most culturally-vibrant cities. The Fellowship is funded partly by CCA, and partly by the Curating.info community itself through a crowdfunding campaign. Please donate to the campaign here: http://rockethub.com/projects/2505-curating-info-fellowship.

The Fellow will work at the CCA in Glasgow, Scotland four days per week over the six month fellowship, working on a curatorial project or body of curatorial research. Fellows will be paid a flat fee of £8,000. Ideal candidates for the Fellowship are emerging or mid-career curators who can demonstrate passion and fresh thinking in curating and writing about contemporary art, and who have a vision for what the role of the curator means today.

The deadline for applications is October 21, 2011. Applicants will be notified November 15, 2011. Applications will be judged by Francis McKee, Director of the Centre for Contemporary Arts in Glasgow; Sally Tallant, Head of Programmes, Serpentine Gallery / incoming Artistic Director & CEO, Liverpool Biennial; and Michelle Kasprzak, Founder and Editor-in-Chief of Curating.info.

Interested in applying? Download further information and the application form here.

More info about CCA: http://cca-glasgow.com

Curating Performance: Re/activation Strategies

Mexico City, March 17 - 25, 2012
Deadline: Sep 26, 2011

CURATING PERFORMANCE: RE/ACTIVATION STRATEGIES
A panel/workgroup/exhibition for the Hemispheric Institute's upcoming
Encuentro (conference) in Mexico City, March 17-25 2012

For more details and to apply online, visit:
http://hemi.nyu.edu/hemi/en/mexico-overview/enc-2012-workgroups/949-curating-performance/

5 curators/scholars and 5 artists will be selected for participation.

DESCRIPTION:
In 1968 Argentine artist Graciela Carnevale staged "El Encierro" (The
Confinement) locking her audience into a gallery until they were forced
to break through the front window in order to exit. In a related action
from 1979, Chile's Colectivo Acción de Arte (or CADA) censored the
Bellas Artes Museum by covering the entrance with a white sheet and
parking a row of delivery trucks in front of it, declaring that art
must be rediscovered in the landscape of everyday life. We might
interpret these performances as examples of curatorial interventionism,
or an attempt to redirect artistic production and audience attention
beyond the limits of elite galleries. Indeed, as part of the
transnational phenomenon sometimes referred to as the
"dematerialization of the art object" in the 1960s and 70s, artists
frequently worked with performance in direct opposition to mainstream
art institutions, believing their works could not be collected or
commodified. During the 1980s and 90s, artists like Coco Fusco,
Guillermo Gomez-Peña, James Luna, Las Yeguas del Apocalipsis and Andrea
Fraser continued to use performance as a potent mode of institutional
critique that denaturalized the museum's role in colonialism and social
control.

Today, and regardless of artist intentions, the remains or "leftovers"
of performance art have come to be incorporated into museums and
galleries (as well as classrooms) as surrogates for an event, mnemonic
aids, performative fragments, or art objects in their own right. What's
more, in recent years, performance artists and process-based works have
been increasingly featured in mainstream exhibitions. Markers of this
paradigm shift include the "laboratory" galleries of the Palais de
Tokyo, Marina Abramovic's popular and controversial retrospective The
Artist is Present (2010), Museo del Barrio's Arte No es Vida survey
exhibition of Latin American performance art (2008), the ongoing
Performa Biennale, along with numerous Hemispheric initiatives that
include the next Encuentro in Mexico. All of the above have led to a
variety of results, mutually transforming the identity of performance
art and its space of exhibition - and calling into question the roles
of the artist, the curator, and the audience. What limitations do
institutional spaces (such as the museum) pose for performance artists
and curators of performance? What is the role of the curator in
exhibiting new performances and/or reactivating those that have already
taken place? What is the significance of performance in the history of
exhibition, and what new display methods can it enable? How does the
recent museological shift towards interactivity relate to performance
and archival practices more generally?

We seek workgroup participants who are interested in developing a
collaborative, transdisciplinary, and historically informed approach to
curating performance. Activists, practitioners, scholars, amateurs and
seasoned professionals from multiple disciplinary formations are
welcome to apply. We will accept 300-350 word abstracts for conference
papers, manifestos, multimedia presentations, performances, and other
experimental formats that explicitly address curatorial concerns. We
will meet as a workgroup for all normal meeting times.The first two
sessions will consist of participant presentations of their work. The
remaining meetings will involve collaborations for curating an
exhibition at the end of the Encuentro. Attendance is mandatory for all
scheduled sessions.

POSSIBLE TOPICS:
Curating Contemporary Performance Art
Re-Performance
Histories of Exhibiting Performance
Display Dramaturgy, Experience-Driven Exhibitions
Curating "Laboratories"
Re/activating the Trace and the Index
Organizing Performance Biennials, Triennials, and Other Events
Performance Artists as Curators, Curators as Performance Artists
Performance and/as Institutional Critique
Curatorial Activism, Radical Curating
Performance and the Art/artifact Debate
Reverse Ethnography Strategies
Curating Tourist Itineraries
Performative Approaches to the Archives
Activating Museum Transgressions
Curating Feminist/Queer Acts
New Media Display Practices
Collecting and Documenting Performance
Exhibiting Postcolonial Repertoires
Commodification of Performance
Relaying Trauma in Museums Galleries
Collaboration and/or Curatorial Collectives
Performativities and Virtual Exhibitions
Provoking Visitors, Engaging Feedback

About ARTIST ROOMS
ARTIST ROOMS is a collection of international contemporary art created through one of the largest and most imaginative gifts of art ever made to museums in Britain. The gift was made by Anthony d'Offay in 2008, with the assistance of the National Heritage Memorial Fund, The Art Fund and the Scottish and British Governments. ARTIST ROOMS is jointly owned and managed by National Galleries of Scotland (NGS) and Tate on behalf of the nation.

The overriding aim for ARTIST ROOMS is to make world-class contemporary art available to the widest possible audience and, in particular, to engage and inspire young people with the art of our time. The ARTIST ROOMS network of Associate museums and galleries now numbers 44 organisations and the collection has been seen by some 14 million people, including visitors to Tate and NGS sites. Tate and NGS recently announced plans for the fourth successive ARTIST ROOMS tour in 2012. With continued support from the Art Fund, 2012 will see 19 new exhibitions and displays go on show at 17 Associate venues across the UK, including six Associates that are new to the project. Alongside the programme of exhibitions, the collection is growing thanks to the generosity of artists and individuals and a new Research Partnership has recently been established with a consortium comprising the University of Edinburgh, Edinburgh College of Art and the Institute of Education, London.

About the role
Reporting to both Tate and NGS, and heading up the dedicated ARTIST ROOMS team, you’ll be responsible for the use, development, care, conservation and promotion of the collection. You’ll represent the collection on behalf of Tate and NGS, building and maintaining excellent relationships between the two museums, and with all partners (existing and prospective), including Anthony d’Offay, funders and Associates.

As well as developing the national tour programme, you’ll work closely with curators and Associate galleries and museums to ensure that displays and exhibitions are staged in line with the collection’s guidelines. You’ll also play an important role in overseeing the production of cataloguing information, publications and other materials relating to the collection and its use. Because of the nature of the role and the high profile of the collection, there will be lots of travel involved, with a requirement to spend at least six days per month at NGS in Edinburgh, as well as evening/weekend working.

About you
The role of Managing Curator is a complex one, demanding a breadth of skills – both managerial and curatorial. Credibility, leadership, diplomacy and impressive knowledge of modern and contemporary art are prerequisites, as is substantial curatorial experience. You should also be resilient, tactful and diplomatic, with the confidence to balance competing demands. Strong working relationships are essential to the success of ARTIST ROOMS, and you’ll be adept at building, developing and maintaining them. Above everything, you must be excited by the challenge of this demanding and rewarding job. This post is offered on a five year fixed-term contract.

Closing date: October 4, 2011

For more information and to apply, please visit https://workingat.tate.org.uk/pages/job_search_view.aspx?jobId=397&JobIndex=1&categoryList=&workingPatternList=&locations=&group=&keywords=Curator&PageIndex=1&Number=4

POSITION SUMMARY:
Responsible for curatorial and administrative tasks including exhibition research, development, planning, and management; production of texts for didactic materials, publications, marketing, and PR; manage gallery rotations with oversight of collection; public presentations.

WORK SCHEDULE:
Monday-Friday, 9am-5pm and occasional evenings and weekends as needed.

ESSENTIAL DUTIES AND RESPONSIBILITIES include the following:

1. Exhibitions:
Develop exhibition and acquisition proposals; acquire information from artists and gallerists for the purposes of exhibitions, acquisitions, and publications
Originate and oversee exhibitions of varying size and scope
Secure loan agreements from private and public sources; work with HMA registrar to obtain loans
Manage exhibition checklists, budgets, image files, and lender/donor records; ensure accuracy of information issued in HMA publications and website
Provide team leadership at HMA for collaborative projects with organizations in Atlanta and elsewhere; projects include exhibitions, public programs, collections, and other outreach initiatives
Compose grant narratives for exhibition and collection support
Establish and manage relationships with artists, gallerists, collectors, and donors
Direct logistics and itineraries for visits by artists, curators, and other VIPS
Make presentations to HMA staff and to the public

2. Collections:
Write justifications for new acquisitions, conduct due-diligence for deaccessions, and write grants to support conservation needs
Manage collection rotations with oversight of the High Museum collection
Conduct research on the permanent collection, update object files, and obtain current insurance valuations
Conduct permanent collection tours and lectures for museum donors and patron constituencies
Manage department assistant and interns in the rehousing and inventory of works on paper
Travel as courier with works from the High Museum collection

3. Public Programs:
Liaise with artists and work with Curator of Modern and Contemporary Art and Manager of Public Programs to develop and implement public programs
Develop programs for Friends of Contemporary Art and maintain communication with donors and supporters of ModCon
Work with Education, Development and Public Relations staff to produce materials to promote, publicize, and interpret exhibitions and public programs
Deliver public presentations at the museum and at professional panels and symposia

4. Administrative:
Prepare and edit texts for museum newsletter, wall text, object labels, website content, and catalogs
Gather and write exhibition-related information pertinent to grant applications, final reports, and other institutional needs
May be asked to assist Chief Curator and Director in preparing materials for Board presentations or other needs
Develop and monitor project budgets, including revenue and expenses
Occasionally organize and manage exhibition-related events
Supervise departmental interns

QUALIFICATIONS:
To perform this job successfully, an individual must be able to perform each essential duty satisfactorily. The requirements listed are representative of the knowledge, skill, and/or ability required. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions.

Education and Experience:
Minimum of a Master's degree in art history and three to five years experience in a curatorial position with emphasis on contemporary visual culture

Skills and Abilities:
Successful candidate must excel at teamwork and have the ability to collaborate with others, especially artists and educators
Excellent organization skills; ability to coordinate complicated projects and manage multiple and diverse tasks simultaneously; ability to follow through and meet deadlines
Ability to take initiative and prioritize tasks; excellent time-management, problem-prevention and problem-solving skills
Ability to maintain confidentiality
Ability to represent the museum with a high level of integrity and professionalism, adhere to museum policies and support management decisions in a positive, professional manner
Excellent speaking and communication skills
In-depth knowledge and enthusiasm for contemporary visual art, artists, museums and exhibitions
Good interpersonal skills, including the ability to work with colleagues, artists, the public, Board, donors and volunteers
Thrives in a fast paced, team oriented environment

Language Skills:
Superb verbal and written communication skills in English; second language (German, Italian, Spanish, Japanese, Mandarin) desirable

Mathematical and Computer Skills:
Ability to comprehend and maintain departmental financial records, and develop tools for tracking financial information
Demonstrated proficiency with and accuracy in using computer programs, including MS Word, Excel, PowerPoint

PHYSICAL DEMANDS/WORK ENVIRONMENT:
The work environment and physical demands described here are representative of those that must be met by an employee to successfully perform the essential functions of this job. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions.

Some standing, walking, bending, frequent use of hands, stooping and light lifting (at least 10 pounds) is needed.
The noise level in the work environment is usually moderate.

For more information and to apply, please visit http://www.high.org/About/About.aspx

The 'H+F Curatorial Grant 2012' is an ambitious and original initiative which allows the FRAC Nord–Pas de Calais (Dunkirk/France) in close partnership with the private collector Han Nefkens (H+F Collection), to give young international curators the opportunity to participate in the development of exhibition projects based on the collection.

This grant which was launched in 2007 offers emerging art coordinators and curators a unique infrastructure and environment with free access to a research and documentation centre as well as to one of the best French collections of contemporary art. The FRAC acts as the first intermediary for these future professionals of contemporary art by helping them to develop and implement their projects.
Han Nefkens (H+F Collection) and Hilde Teerlinck (Director of the FRAC Nord-Pas de Calais) will select the new candidate. The selected person will become part of the FRAC's team as an assistant curator, coordinating local, national and international exhibition-projects. The grantee selected for the period of 12 months will also be responsible for the coordination of ArtAids projects wich focus on creating awareness about HIV/Aids and tackling the stigma connected with it. See www.artaids.com

She / he will receive in exchange a grant for 12 months (2012) that will help finance her/his living and travel expenses. An excellent knowledge of Dutch and English is required, knowledge of French would be helpful. The candidate will have to install her/himself in Dunkirk for the mentioned period.

This project has been made possible thanks to the generous support of Han Nefkens (journalist, writer and art collector), which enables the FRAC Nord-Pas de Calais to reinforce the development of a strong and active policy of patronage around its activity.

Please send your application containing a recent CV (including a photograph), a exhibition project based on the collection of the FRAC Nord-Pas de Calais (max 1 A4) and an motivation letter before October 17th, 2011 to:

FRAC Nord-Pas de Calais :
Hilde Teerlinck
930 avenue de Rosendaël
59240 Dunkerque (France)

Tel. 03 28 65 84 20
www.fracnpdc.fr
project(at)fracnpdc.fr

This is an exciting opportunity for you to work closely with an Assistant Curator in researching and organising an upcoming exhibition at Tate Modern.

You will gain experience in general administration from the day to day duties of the Curatorial Department as well as an insight into the processes of exhibition planning and development. You will be working on the research and planning stages of a major exhibition and will contribute to the development of its concept and layout.

Throughout the internship you will be engaged in the activities outlined in the attached Role Description, however, this is not an exhaustive list.

Please note that this internship is offered as a volunteer activity and as such is understood to be outside the scope of the National Minimum Wage legislation.

For more information and to apply, please visit https://workingat.tate.org.uk/pages/job_search_view.aspx?jobId=368&JobIndex=2&categoryList=&workingPatternList=&locations=&group=&keywords=Curator&PageIndex=1&Number=3

Job Title/Grade: PART TIME CURATOR - GRADE 7 (£20,485 PA) 21 hours per week, fixed term for two years in the first instance
Reporting to: Head of Department of Culture, Writing and Performance
The deadline for applications is 5PM on Monday 19th September.

Further information: Founded in 1892, London South Bank University is one of London’s oldest and largest universities with over 25,000 students from 120 countries. The University has recently been awarded a Heritage Lottery Fund grant for a new gallery to house The Legacy of David Bomberg and The Borough Group - the Sarah Rose Collection, opening in Spring 2012. Bomberg, who taught at the Borough Polytechnic, is regarded as one of the most significant artists and art teachers of the 20th century and items in the collection are considered to be of national importance. Collection display will be enhanced through public engagement programmes including volunteering, art classes for schools and adults, heritage walking tours, interpretation materials and a digital archive.

We are now looking for a creative and highly motivated curator to develop, promote and manage the collection, gallery, exhibitions, public engagement activities and the digitisation of the collection, ensuring that the project achieves its objectives.
You must have a degree in a relevant subject, proven experience of working in a gallery, museum or heritage context and knowledge of current best practice in arts education. You will also have demonstrable experience of managing interpretation and learning resources and events and be highly organised, with strong administrative, communication and networking skills. Experience of managing volunteers would be advantageous. An enhanced CRB check will be required.

Please click here for further details: www.lsbu.ac.uk/jobs
An Equal Opportunities Employer.