Curating.info

Opportunity for Graduate Students in Interdisciplinary Studies in Curation:
Graduate Student Research Assistant for an interdisciplinary art/film curatorial project between Media Production and Studies and Visual Arts investigating concepts of expanded cinema. The position will fully fund an MA applicant to the Interdisciplinary Studies program interested in a thesis topic in curation studies. Includes a stipend of $12,000 per year, for two years (September 1, 2012 to August 30, 2014) under the supervision of Dr. Christine Ramsay and Professor Rachelle Knowles, with independent curator Elizabeth Matheson (Strandline Curatorial Collective) and Timothy Long (Adjunct Professor and Head Curator, MacKenzie Art Gallery). Duties will include travel (expenses paid) to venues such as Documenta, ZKM, Manifesta 9 and Cinematheque Ontario to train in researching curatorial models. Other duties will include online research and literature review, copy editing, and administrative/organizational tasks serving the project, as well as teaching assistant duties in a 4th level undergraduate course in curatorial studies.

Contact: Christine.Ramsay -at- uregina.ca (Media Production and Studies) regarding the Research Assistant position.

Contact: Randal.Rogers -at- uregina.ca (Associate Dean, Graduate Studies and Research) regarding application to the program. The deadline for applications is February 15, with a window for extensions under special circumstances.

For more information on the University of Regina please visit their website: http://www.uregina.ca.

CURATOR/ARTISTIC DIRECTOR

Opportunity
Esker Foundation is a privately funded non-collecting exhibition facility built to Class A museum standards. Located in Calgary’s historic Inglewood district, Esker comprises approximately 15,000 square feet of exhibition space within a newly constructed building that is scheduled to open in mid June of this year. The Esker Foundation is funded by Jim and Susan Hill. The Hills are the founders of a successful oilfield service company and have a strong interest in art, including a large collection of primarily Canadian and American post-war abstract paintings and sculptures.

The Esker Foundation will be a non-collecting exhibiting institution and therefore the Hill collection will remain outside the scope of Esker. The mission of the Esker Foundation is to provide the people of Calgary, in fact all Albertans and visitors to the City, opportunities to experience the art of art times in an amiable environment of leisure and study, and of learning and enjoyment.
The Esker Foundation is seeking a Curator/ Artistic Director to oversee the exhibition program and organize exhibitions of modern and contemporary art.

Responsibilities:
To develop and implement a cohesive vision and strategy for the exhibition of modern and contemporary art.
To develop and curate rigorous exhibitions both large and small of modern and contemporary art.
To conduct original research, prepare exhibition budgets, negotiate with artists and lending institutions and the supervise installations.
To collaborate with the Gallery Director and other Esker staff in the creation and management of interpretive materials, publicity materials and public programs for a variety of audiences.
The Curator/Artistic director will work in concert and as a peer with the Gallery Director who is already employed. The Gallery Director is charged with all aspects of operating the gallery including employees, marketing, art handling and transport. Both the Curator/ Artistic Director and the Gallery Director will report to Esker Foundation founders.
The role will not involve presentations to Boards, fundraising or the writing of grants. The opportunity will be almost purely involved with the exhibition program for the Foundation.

Qualifications:
MA or PHD in Art History or related field.
Minimum of five years relevant museum experience with a substantial record of exhibition making, publications, public presentations and service to the field.
In depth knowledge of Canadian and International modern and contemporary art and participation in the national and international art and curatorial community.
Familiarity with museum best practices and current trends in the field.
A passionate advocate for artists.
Excellent working relationships with colleagues in the field including collectors, artist, gallerist, critics and scholars.
Proven scholarship as well as excellent writing, communication interpersonal management and administrative skills.
Proven ability to manage budgets
Collaborative, collegial creative and resourceful.
Demonstrated integrity in all professional matters.

While the gallery is located in Calgary, the successful candidate does not necessarily need to reside in Calgary if willing to travel to Calgary on a regular basis.

Interested candidates are asked to apply by February 29, 2012, with cover letter, resume and a general suggested programming schedule for 2 years detailing reasons for the exhibition program selected.

Applications can be mailed or emailed to:
Jim Hill (jim.hill -at- eskerfoundation.com)
Esker Foundation
444, 1011 – 9th Avenue S.E.
Calgary, AB T2G 0S6

No phone calls please, and only those selected for interviews will be contacted.

The American University of Beirut is embarking on a major initiative in the visual arts. We will shortly be opening two new exhibition
galleries. The first will house a small permanent collection of paintings, primarily by Lebanese artists from the early 20th century.
The second will showcase temporary, rotating exhibitions, concentrating primarily on contemporary art. We are seeking a dynamic
Director/Curator to take responsibility for these galleries. Familiarity with the local Lebanese art milieu and regional artistic
developments is strongly recommended.

The position carries an academic appointment in the Department of Fine Arts and Art History, and a close working relationship with the department is envisaged. The successful candidate will integrate the art exhibition spaces as much as possible with the teaching curriculum. Ideally, courses in curatorship will be taught as well.

Candidates should possess at minimum an MFA in studio arts, or an MA in art history, curatorial or museum studies. Curatorial experience is expected.

Interested applicants should send a cover letter, curatorial portfolio, CV, and three references. Review of files will begin on February 1, 2012 and will continue until the post is filled.

All application material should be sent to:
Office of the Provost
American University of Beirut
3 Dag Hammarskjold Plaza, 8th Floor
NYC, NY 10017-2303
USA
Or
Office of the Provost
American University of Beirut
PO Box 11-0236
Riad El Solh
Beirut 1107 2020
Lebanon

Electronic submissions are highly encouraged and may be sent to md02 -at- aub.edu.lb.

Arnolfini

Arnolfini is one of Europe's leading centres for the contemporary arts, based in Bristol's Harbourside. Through a visual arts-led, multidisciplinary programme of exhibitions, live art, dance, music, film, poetry & literature, on-line and off-site projects, with a strong emphasis upon learning and participation, Arnolfini's mission is to foster artistic experiment and engagement across the contemporary arts.

Curator of Exhibitions

The Curator of Exhibitions works in conjunction with the Director to initiate, research and develop Arnolfini's exhibitions programme and related projects. The Curator of Exhibitions is responsible for all aspects of the delivery and management of exhibitions. In addition, it is expected that the Curator of Exhibitions will contribute extensively to collaborative project team working across the organisation, and in liaison with external partners.

Salary £29,000

Deadline for applications: Noon Wednesday 8th February 2012
Interviews: Thursday 23rd February 2012

For further information on the post and details of how to apply please send an A4 SAE to Recruitment Manager, Arnolfini, 16 Narrow Quay, Bristol BS1 4QA or email recruitment -at- arnolfini.org.uk or download information from www.arnolfini.org.uk

If you require the information in alternative formats please let us know.

Call for Applications
Residencies at Darling foundry
CURATORS in visual arts


FRANCE-QUEBEC CROSS RESIDENCIES
Pilot Darling Foundry - Astérides (Marseille)
Residencies : November to December 2012
(1 French curator in Montreal and 1 Québécois curator in Marseille)
Deadline January 15, 2012


THE RESIDENCY OF THE AMERICAS OF THE CONSEIL DES ARTS DE MONTRÉAL
Residency: May to June 2012
This program is dedicated to curators from the Americas, including Canada. Québécois are not eligible.

**Deadline extended to January 23, 2012**

Guidelines, forms and more informations:
www.fonderiedarling.org/encourager_e/index.html
residence -at- fonderiedarling.org

===============

Appel de dossiers - Résidences à la Fonderie Darling
Volet commissaires en arts visuels


RÉS. CROISÉES FRANCE-QUÉBEC
Pilote Fonderie Darling - Astérides (Marseille)
Résidences : novembre - décembre 2012
(1 commissaire Français à Montréal et 1 commissaire Québécois à Marseille)
date de tombée : 15 janvier 2012

LA RÉSIDENCE DES AMÉRIQUES DU CONSEIL DES ARTS DE MONTRÉAL
Résidence : mai - juin 2012
Ce programme s’adresse aux commissaires en provenance du continent des Amériques, incluant le Canada.
Les Québécois ne sont pas admissibles.
**Date de tombée reportée au 23 janvier 2012**

Artexte est à la recherche d’un conservateur adjoint pour produire et coordonner des projets d’exposition innovateurs dans un contexte de recherche unique au Québec et au Canada.

CONTEXTE
Le nouveau programme d’expositions d’Artexte s’inspire de l’important fonds documentaire enrichi depuis 30 ans. Celui-ci rassemble catalogues d’expositions, publications d’artistes, dossiers d’artistes et périodiques publiés au Canada et ailleurs depuis 1965 et reflète un intérêt pour les approches critiques de la création, de l’exposition, de la recherche et de l’interprétation des arts visuels.

Le programme d’expositions vise à rendre compte des enjeux aussi multiples qu’inexplorés de l’édition et des écrits critiques, de la culture de l’imprimé, des réseaux d’information et des cyberinfrastructures.

Artexte dispose dans ses nouveaux locaux au 2-22, d’une salle d’exposition de 30 mètres carrés.

RESPONSABILITÉS
Le titulaire participe au développement de la programmation; planifie, produit et coordonne les expositions annuelles ainsi que le programme complémentaire; planifie et réunit les ressources humaines, matérielles et techniques nécessaires aux programmes; coordonne l’installation des expositions et des activités; réalise les outils interprétatifs; assure les communications; collabore à la préparation des demandes d’aide financière et aux rapports administratifs; assure la gestion de chaque projet.

COMPÉTENCES
Posséder une solide connaissance de l’art contemporain et de l’édition papier et numérique en art actuel; un intérêt marqué pour la production de nouveaux savoirs en lien avec la documentation des arts visuels au Canada et à l’étranger; faire preuve d’initiative, avoir la capacité de mener avec vitalité plusieurs dossiers à la fois. Le titulaire occupera un rôle clé dans le bon fonctionnement de l’organisme.

Détenir une maîtrise en histoire de l’art, communications, cultural studies, science de l’information, muséologie, ou l’équivalence; posséder au moins deux années d’expérience de coordination de projets dans un organisme artistique. Une parfaite maîtrise du français écrit et parlé et une bonne connaissance de l’anglais parlé et écrit sont essentiels.

CONDITION
Poste à temps partiel
25 heures semaine, 12 mois avec possibilité de renouvellement
26 000 $ + avantages
Date limite pour envoyer votre candidature : 15 janvier 2012
Entrée en fonction : mars 2012Soumettre votre curriculum vitae et une lettre d’intention à embauche -at- artexte.ca avant le 15 janvier 2012.

Seules les candidatures retenues seront contactées pour une entrevue.
Veuillez noter que le masculin a été utilisé afin d’alléger le texte.

Frans Masereel Centrum and Z33 are pleased to announce an open call for curatorial proposals for an exhibition on graphic arts in Z33 from October 28 – December 31, 2012.

Because of the need to broaden the network of both international and national curators, and in order to stimulate curatorial strategies and concepts in the field of graphic arts, the Frans Masereel Centrum and Z33, house for contemporary art, are launching an international open call for curatorial proposals.

Postmark deadline: 16 January 2012

Download full description here.

Proposals should be sent via mail or email to:
Sofie Dederen
Frans Masereel Centrum
Masereeldijk 5
2460 Kasterlee
Belgium

More info: www.z33.be - www.fransmasereelcentrum.be

Senior Curator of Modern and Contemporary Art and Phyllis C. Wattis MATRIX Curator
UC Berkeley - Main Campus

The mission of the UC Berkeley Art Museum and Pacific Film Archive (BAM/PFA) is to inspire the imagination and ignite critical dialogue through art and film. One of the largest university art museums in the United States, in physical and budget size and in attendance, BAM/ PFA has developed an international reputation for presenting one of the most active and ambitious exhibition programs, as well as for the quality of its art and film collections and research resources. BAM/ PFA is an institution with a stellar history and an exciting future. For more information, visit our website: http://bampfa.berkeley.edu.

Responsibilities:

• The Senior Curator of Modern and Contemporary Art and Phyllis C. Wattis MATRIX Curator is responsible for leading an internationally recognized, dynamic, and very active exhibition program of modern and contemporary art, including the MATRIX program which offers a rich and diverse sampling of significant local, national and international developments in all media and experimental forms.

• Based on original research, plans and conceptualizes exhibitions and other projects of international modern and contemporary art examining diverse topics and historical themes. Writes and edits scholarly materials that appeal to the broad range of museum visitors.

• Maintains ongoing, active professional relationships with artists, curators, and critics locally, nationally, and internationally. Regular engagement in programs, talks, symposia, and electronic media outside BAM/PFA.

• May supervise support staff and guest curators.

• Identifies acquisition and conservation priorities. May recommend works for de-accession and conduct relevant research.

• Collaborates with development staff on fundraising. Actively cultivates relationships with foundations, BAM/PFA Trustees, existing major and potential donors, collectors, and artists.

• Works with the education department to develop interpretive programs and materials, and to make exhibitions relevant to UCB coursework and diverse audiences. May present lectures and/or teach UCB courses. Actively engaged in BAM/PFA website and other digital outreach media, including BAM/PFA blog.

• May supervise guest programmers for L@TE, E@RLY, and other special programs.

• Plays a key role in long-range institutional planning efforts, such as establishing programmatic and collection development priorities, exhibition planning for the new building, conservation planning, and strategic planning.

• Develops and oversees relevant exhibition budgets.

• Holds a leadership role in the international modern and contemporary art field, through close working relationships with international curators and specialists, and through original scholarly research.


Qualifications:

• Advanced knowledge of and experience in museum curating, research, and collection development.

• Excellent verbal and written communication abilities, including the ability to communicate complex concepts about history, visual arts, and cultural practice to an audience that ranges from casual museum goers to academics.

• High-level cultivation and grant development experience.

• College-level teaching experience.

• Understanding of, and sensitivity to, diverse communities served, locally, nationally, and internationally.

• Intellectual curiosity, creativity, and enthusiasm for bringing scholarly research and distinctive visual arts programs to a broad public in accessible ways.

• Ability to collaborate internally and externally, and cultivate strong relationships with faculty, donors, and colleagues.

• Writing samples required.

• PhD in Art History or equivalent preferred, with extensive knowledge and emphasis in international modern and contemporary art, and appreciation for full range of field.


Salary: Salary is commensurate with experience, with an excellent benefits package including three weeks vacation and benefits for eligible family members.

First Review Date: January 3, 2012

To Apply: Visit http://apptrkr.com/220721 click on 'search and apply for jobs now' and look for job number 13232.


The University of California, Berkeley is one of the world's leading universities in research, teaching, and public service. The campus employs 2,028 faculty and over 14,000 staff in more than 130 academic departments and interdepartmental groups, libraries, museums and more than 65 interdisciplinary research units contribute to this dynamic and vital research and teaching environment.

The University of California, Berkeley is an Equal Opportunity Employer. We offer a diverse working environment, competitive salaries, and comprehensive benefits.

- Fellowship update! We are on the cusp of announcing who will be the first Curating.info Fellow. Watch this space! There are only a few days left in the online fundraising campaign. If you appreciate this resource, and have not already donated, please do so by clicking "Fuel this Project" here.

- The latest issue of On Curating is out, and it deals with the issues of public art and public space. Download it free. Also, make a note of the fact that Dorothee Richter, director of the curatorial programmes at ZHDK that create the On Curating journal, has started a practice-based curating PhD in collaboration with the University of Reading.

- Hans Ulrich Obrist: "The notion of curating is now used beyond the art world", explains Obrist. "Blogs are being curated, websites, conferences, concept stores, all sorts of things. We live in a digital age characterized by an exponential growth in information. The way we navigate through this huge amount of information and transform it into knowledge is a curatorial issue." (Long-time readers will know that I don't entirely agree with this viewpoint.)

- Marina Abramovic curates for the first time (first time online, anyway).

- Paco Barragán, in a piece that I can hardly believe I have not linked to yet -- PUSH TO FLUSH / The Curator's Paradox says: "...the curator has become an abstract, dubious, un-ideological character, but at the same time wanted and sought-after, like David Guetta. I guess it’s the spirit of our 'curated' times!"

- Following on the "Push to Flush" sentiment: Career Suicide is a very funny blog (by a very good and very funny artist, Alistair Gentry). He recently grabbed my attention with a post entitled "The Deadly Curator". That's all that I'll give away, you have to click to get the rest.

Interaccess: Programming Coordinator
Deadline December 2

Position Type: Regular 30 hours/week, evenings and weekends as required
Salary: $26,500 - $30,000 starting salary
Years Experience: 2+

BENEFITS:

 A benefits package is available after a three-month probation period is completed. Four weeks paid vacation, in addition to statutory holidays, offered. InterAccess provides professional development opportunities.

DESCRIPTION:
InterAccess seeks a motivated arts professional to step into the role of Programming Coordinator.

InterAccess was incorporated in 1983 as a non-profit, artist-run access centre, under the name Toronto Community Videotex. Today, InterAccess is Ontario's only gallery and production facility devoted exclusively to electronic media art. From its early incarnations as a non-profit, artist-run access centre in the mid-1980s to its current role as a global participant in electronic media art curation and exhibition, InterAccess has ambitiously explored artistic practices associated with interactivity; networked and remote connection; and experimental interfacing between the physical and virtual.

InterAccess has a mandate to present new media art by local, national and international artists. Currently the program promotes experimentation with conceptual models and contexts for visual art that have allowed the program to expand beyond gallery exhibitions to include cross-disciplinary works, site-specific and Internet projects, and co-productions.

RESPONSIBILITIES:
The Programming Coordinator reports to the Executive Director, and is responsible for:

Developing and communicating a dynamic vision for the Exhibitions Program
Research, studio visits, soliciting and reviewing submissions
Identifying international artists to complement local work
Curating exhibitions and all associated programming

Writing and editing publications
(including web and media releases)
Coordinating public events and receptions, talks, tours and screenings
Installation of exhibitions; coordination with artists and exhibition partners
Assisting with grants and seeking opportunities for sponsorship

Tracking and monitoring budget components related to program expenditures
QUALIFICATIONS 


BA/BFA required, MA/MFA an asset
Understanding of contemporary art practices

Excellent written and verbal communication skills in English (Knowledge of French or a second language an asset)
Strong organizational skills
; detail oriented
Brings a high level of self-direction and initiative with strong time-management abilities
Ability to provide direction and work with a diverse staff, board and membership
High capacity to meet deadlines and work under pressure

A clear understanding of Canadian artist-run centres
Knowledge of managing publications and print projects (Graphic design experience an asset)
Experience installing a variety of art exhibitions

Experience making or presenting new media art

TECHNICAL QUALIFICATIONS:
A technician and skilled volunteers support activities. Professional development and on-site training is provided. The following would be considered assets:

Good working knowledge of web languages: HTML, CSS, and JavaScript (PHP an asset)
Experience with MySQL and FTP programs
Knowledge of common CMS systems, WordPress etc.
Knowledge of Internet Protocols, setting up local networks, setting up Internet connections for artworks
Working knowledge of common programs such as Arduino, Processing, Pure Data, and Max/MSP
Basic understanding of electronics and electronic fabrication
Advanced experience in Mac OSX and Windows (Linux an asset)
Experience with Adobe CS
Understanding of video codecs, resolutions, and projector/monitor requirements.
Knowledge of Final Cut Pro, FFMPEG (Other conversion and production programs an asset)
Experience installing and routing cabling
Basic construction and fabrication abilities
Experience working with sound and P.A. systems

SEND SUBMISSIONS TO:

“Programming Coordinator Position”
c/o Laura Berazadi, Executive Director, InterAccess
info -at- interaccess.org
Please apply no later than Friday, December 2.
Include cover letter, CV, and a writing sample.
InterAccess is committed to the principles of Employment Equity and encourages applicants to self-identify.

Special contribution by Amy Fung

I went to live and work in Scotland (a nation and not a country) for six months this past year on an arts writing and curating fellowship. The food was bad, the people solid, and the best art show I saw was German. The overall experience of being on a writing/curating fellowship sounds better than it actually was; and while I do not regret my time spent in the land of lochs and moors, I would have done somethings quite differently if I could do it all again.

Looking backwards and from across the pond, the bright shining light of Framework stands out as a beacon. Devised by Glasgow-based independent curator Kirsteen Macdonald the first five Framework events came as a response to the perceived lack of international resources and networks for Scotland-based curators. While both independent and emerging curators were encouraged to apply, the majority of participants consisted primarily of emerging curators who were looking more for a sounding board to vent their frustrations. I can only hypothesize that the more established curators refused to apply or excused themselves as too busy to participate, but as a platform for networking with international guests within the scope of your national peers, I walked away with a sense that those curators in more stable positions needed to feel they were not on the same level as everyone else, or that they were also not interested in engaging with these guests out of some sort of inferiority complex.

On the other hand, an easy critique can and should be made at the definition of "international" only demarcating UK and Berlin-based writers and curators like Jan Verwoert and Maria Fusco. But let's go back to the beginning of this text where I am giving a first impression of Scotland and consequently Scotland's art scene.

Coming from Canada, I was and remain blown away by the sheer scale difference of Scotland's wee geography. With only a 45 minute train journey between Glasgow and Edinburgh, and only a three hour train between the central belt and the North East town where I was based, geography does not play a convincing factor in the vastly different attitudes and the general lack of internal dialogue. The town of Huntly where I was working and living could have stood as a microcosm of Scotland as a whole: a wee picturesque place, embedded with traditions and class structures, tolerating and attempting to build a lively and surprising contemporary art scene – producing works that rarely anyone local actually pays attention to unless a ceilidh is on the bill. The common practice is to look south and out for success and inspiration, often bringing people in for their ideas -- but at the end of my six months, I do wonder if the people of Huntly, and by extension the people of Scotland, actually care that an ongoing privileging of foreign value perspectives and systems is being placed onto their sovereignty-seeking selves?

With a population of 5 million, there are actually four sizable art schools in Scotland, and a significant proportion of alumni from The Gordon Schools in Huntly go on to attend these national art schools. I attended (in some variation) all the graduate or undergraduate exhibitions for Glasgow School of Art, Edinburgh College of Art, Duncan of Jordanstone College of Art and Design, and Gray's School of Art. Mentorship on the production side is visible and lineage is respected, but of the four schools, only one showed any depth in the relatively new field of curatorial studies and arts writing. This is a problem, especially if the solution has been importing in thought rather than focusing on the local production of critical thinking. This may be a watershed moment as now under Creative Scotland's new "talent" pool, artists of all disciplines will be geared to how they fare for international consumption. Like its fine drams and rich shortbreads, goods that few born and bred Scots actually show much interest in, Scottish artists may soon be on the same ship out.

This is not a problem unique to Scotland, but Framework has magnified a contentious issue that it believes (self-consciously so) to be its own. It's true that the void of support and understanding about curatorial work is staggering, especially by its practitioners. Most curators in the field either grab onto the title or are bestowed with it, but few actually fit the definition with confidence. During Framework's finale, in lamenting on her disparate curatorial roles for an upcoming exhibition in London, a curator was asked point-blank: "What do you think a curator actually does?" and her response was only a pause and a stutter.

For the record: curating as a practice for all extensive purposes of this text translates as researching, producing, and presenting a unified and ideally critical/social/philosophical context for a single work or group of works that questions or addresses a facet of history for present-day musing. Under this definition, most curatorial work today is in fact a straight forward commissioning gig, or fund-driven project management, which has confused the role of the curator as someone with power. Most emerging curators who attended Framework were not really curators, but hustlers trying to get ahead in this profession. This assumed curatorial power is directly associated with funds rather than knowledge or ability. This is when curators simply become "gate-keepers", but note even how one-sided this argument stands. The desire to get beyond the guarded threshold takes on celestial proportions of seeking permission and desiring acceptance, which unfortunately, reveals just how elusive and unrealistic the standards of success sit in this cultural profession that is skewered by an inflated art market and where the Hirsts and Obrists make up all of 1% of the art world.

Curators have always been specialists of specific strands of knowledge, but now, according to British Art Show curators Tom Morton and Lisa le Feuvre (who were also guest facilitators for Framework), everyone can be a specialist of the everyday! The sentiment is idealistic and so it is admirable, but the execution requires some logic and an infinite breadth of knowledge that reflects the multifaceted experience of our everyday. The historical definition of a curator has progressed, and rightly so, but the integrity of curating has yet to catch up. I am not arguing for a return or even a favouring of traditions, but I do strongly question the use of this language if the meaning has so drastically shifted. In Fusco's words, we should take the time and energy to "re-caress the art object" -- be it through words or actions.

Based on final presentations given by Framework participants, it became frighteningly clear the presupposed value of calling yourself a curator has been accumulating steadily for the last three decades, but in an economic reality, the precarious state of the curator is doubly duped as the false assumption of power is a reflection of needing to have an expanded practice: that one also needs to organize, administrate, market, and fundraise independent projects in order to be a legitimate arts professional. The hyphenated artist/curator/designer/administrator works in an "expanded practice," a term Macdonald came up with that nobody seemed to question. Working in an expanded practice also became the subject matter for the workshop by Ellen Blumenstein, which was rescheduled due to exhaustion and so became the finale of this first set of Framework events. The end revealed the beginning as an expanded practice revealed itself in an unfolding of collective illness and exhaustion. Soldiering on in a burnt out state of being appeared to be the bane and survival tactic of maintaining an independent practice, and it was a glimpse of a grim future I did not want for myself.

This shroud of taking on curatorial power in an art world where the market value holds all the cards could be seen as a positive turn towards creative and intellectual value. However, like the smoke and mirrors of an absorbing and twisting Nabokov narrative we may not realize we have been spun a yarn of self-convinced fables of social grandeur that in the light of day comes off as a perverse and slightly sad fantasy. There are independent curators like Macdonald and Blumenstein who are doing good work and who are also trying to lay the foundation that they themselves need to stand on, but the more weight you put onto these foundations the faster the whole lot sinks. As a series, Framework quenched the void by facilitating intimate and thought-provoking discussions with a mixture of established practitioners, but the main critique here is that a dialogue must go two ways. I question the small group of curatorial professionals who did not bother applying, and the peers and participants who never spoke -- two seemingly different groups who in their own ways still chose to stay isolated without realizing that this dialogue exists in flux, and in their control to change.

Mix in exhaustion due to perpetual precarity, survival by hyphenation, the rise of internship exploitation, and assuming power where ever and when ever one can get it, the conclusion I come to is that being an independent curator is a fantasy profession both sought after and grossly misunderstood, and that maybe just sounds better than it will ever be. Life goes on, and so must the work, and it is only my hope that round two of Framework this winter will continue this conversation.

Fellowship update!
The deadline has passed, and we have numerous terrific applications for the inaugural Curating.info Fellowship. We will announce the first Fellow in December.

We're at the mid-point of the online fundraising campaign and still have a way to go towards our goal. A show of support now from the Curating.info community will make the difference in momentum that will spur others to contribute. If you have not already donated, please do so by clicking "Fuel this Project" here. Every little bit helps, and you get cool rewards too!

Spread the word about the campaign by sharing the link to the crowdfunding page on your Facebook Wall, sharing it on Google + and LinkedIn, and Tweeting about it. We've produced sample text for Facebook posts and Tweets below.
Please help us reach our fundraising goal!

Sample Tweet:
I support the inaugural Curating.info Fellowship! Show your support for this new opportunity for curators at RocketHub: http://bit.ly/oWV2G0

Sample Facebook post:
Support this great idea! The Curating.info Fellowship provides a career-changing opportunity for a curator to conduct research and produce an exhibition at the CCA in Glasgow. Contribute to their crowdfunding campaign to ensure this is a success http://rockethub.com/projects/2505-curating-info-fellowship

You can also add the above texts to Google +, and on LinkedIn.
Thanks for your support!

This edition of Curating.info Conversations features Antonia Blocker in conversation with Laurel Ptak. In this interview, Antonia Blocker asks Laurel Ptak some key questions about curating online, the importance and durability of the exhibition as concept and form, and the possibilities for accessing new audiences.

To create the e-book, we used the Bookleteer platform, which was developed by artist-led studio and think tank Proboscis. To enjoy your copy of this e-book, simply choose either the Letter or A4 formatted version in the download links below. Once you have downloaded the PDF file, print the e-book, and assemble according to the directions on the last page of the e-book. Then read it, share it, and print another for yourself or a friend. Or, you can just read and share the e-book in this handy online browser:

Download the e-book:
Curating.info Conversations: Antonia Blocker and Laurel Ptak - A4 Format
Curating.info Conversations: Antonia Blocker and Laurel Ptak - Letter Format

Share the online version using this URL: http://bkltr.it/nfrj6A

(Can't open PDF files? Download a free PDF reader.)

Organization: Western Front Society

Job Title: Exhibitions Curator

Position Type: Full-time contract, 35 hours/week

Location: Vancouver, Canada
Salary: $34,000/year 

Years Experience: 2+

DESCRIPTION
The Western Front Society seeks an outstanding, highly motivated arts professional to step into the role of Exhibitions Curator.

The Western Front was founded in 1973 by a small group of interdisciplinary artists, and has developed into an exemplary multi-disciplinary environment for experimental art practice and research. With a staff of ten plus interns and volunteers, the Society collectively produces over fifty events a year.

The Exhibitions Program has a mandate to present contemporary visual art by local, national and international artists. Intentionally open, this mandate has historically focused on artwork that is conceptual, media-based or otherwise ephemeral in nature. Currently the program promotes experimentation with conceptual models and contexts for visual art that have allowed the program to expand beyond gallery exhibitions to include artist books and posters, cross-disciplinary works, site-specific and Internet projects, and commissions.

RESPONSIBILITIES
The Exhibitions Curator reports to the Executive Director, and is responsible for:

• Developing and communicating a dynamic vision for the Exhibitions Program

• Curating exhibitions and all associated programming

• Editing publications

• Writing grants and seeking opportunities for additional funding or support

• Supervising one part-time staff member, contract workers, as well as volunteers

QUALIFICATIONS
• Exemplary knowledge and understanding of contemporary art practices

• Excellent written and verbal communication skills

• Proven financial management experience

• Strong organizational skills

• Ability to provide direction and work with a diverse staff

• High capacity to meet deadlines and work under pressure

• Knowledge of a broad range of issues related to the arts

• A clear understanding of the philosophy and history of the Canadian artist-run centre
movement

• Knowledge of the principle funding agencies and prior grant writing experience

• Knowledge of managing publications and print projects

• Experience installing a variety of art exhibitions

• Mac OS, Microsoft Office and Filemaker Pro, an asset

BENEFITS
A competitive benefits package is available after the three months probation period is complete. After eight months of employment, four weeks paid vacation may be taken during the period when programs are recessed. An additional ten days paid holiday time may be taken during the December/January holiday period.

HOW TO APPLY
The Western Front Society is committed to the principles of Employment Equity and encourages applications from Aboriginal persons, members of a visible minority group or persons with a disability.

Applications containing a cover letter, curriculum vitae, three references, and writing samples, must be received by 4:00 p.m. on October 31, 2011.

Please send applications by email only to:

Exhibitions Curator Hiring Committee

Email: admin -at- front.bc.ca

NO PHONE CALLS PLEASE. Only candidates selected for an interview will be contacted.

- 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!