Curating.info

- Following the controversy after David Wojnarowicz's work was removed from an exhibition organised by the Smithsonian, and AA Bronson tried to remove his work from the same show in protest, Maura Judkis traces an instance where Wojnarowicz himself tried to remove a work from an exhibition. The case is fascinating and presents counterpoints from the curator's point of view. In 1990, Wojnarowicz tried to remove his work from the exhibition "Art What Thou Eat", curated by Linda Weintraub. In an email interview about both cases she says: "Complying with Wojnarowicz's demand carries a ludicrous implication. It would mean that curators of group shows could only select artists whose sexuality, lifestyles, or political opinions are companionable." and: "An exhibition is a creative expression that deserves the same respect and protection as an individual work of art." Read the full article for a curator's point of view on the removal of artworks from exhibitions.

- More on the evolution of the word curator from a recent article on Visual Thesaurus: "...curators of the ironic might want to make an addition to their lists: the fact that a word which once defined those who looked out for others, now also refers to those who look after themselves."

- I noticed a great initiative on Gabrielle Moser's blog: She's compiling lists of influential "Canadian curated moments". In her words: "...ground rules for the lists are flexible, but I’m looking for exhibitions that were mounted between 1980 and 2010. These could be group or solo shows, and you don’t need to necessarily have seen them "in the flesh", but they need to be curated by a Canadian and include Canadian artists. [...] Though I have started by asking a group of curators I know personally and invited them to submit their lists, the "archive" is open to everyone." You can send your lists to Gabby by contacting her via her website.

- The Are Curators Unprofessional? summit held recently at the Banff International Curatorial Institute has generated quite a bit of online discussion. I found these posts about it particularly illuminating (and have grabbed a few teaser quotes to encourage you to click through!):
Amy Fung at Akimbo: "The almost unanimous rejection of moving information such as catalogues online then is the total fear of losing what little power curators and artists have in the tangible world."
Nancy Tousley at Canadian Art: "This idea of subversion is an exciting notion. It suggests that contemporary artists and curators are closer in their aims than might initially be thought, and that there is potential for curators to participate in substantive change by adopting a strategic "unprofessionalism." "
Ginger Scott at Art in Practice: "The overarching cry from the symposium was to please keep curating unprofessional! It can operate with the freedom it does precisely because it is indefinable."

The Art Gallery of Southwestern Manitoba is Manitoba's second largest public art gallery and one of the few public galleries in Canada to formally embrace cultural diversity in Contemporary Canadian art practice as part of its program policy. In keeping with our commitment to reflect the diversity of our community, we are seeking to fill the key position of Curator.

The Curator will possess significant knowledge of contemporary First Nations, Métis and Canadian art, be committed to collaborative work methods, understand the value of regional art practice, and share in the Gallery's vision to reflect the cultural diversity of our community through contemporary art.

Reporting to the Executive Director, the Curator is responsible for developing and producing contemporary art exhibitions and related publications, and working collaboratively with other staff to provide innovative public programs and effective communications strategies. Responsibilities also include actively engaging relevant community groups and members of the regional arts milieu.

Qualifications include an advanced degree in a relevant discipline and at least two years related experience, with a sound knowledge of contemporary art history. Comprehensive knowledge of funding requirements and relevant funding agencies is mandatory. Excellent interpersonal, administrative and organizational skills, demonstrable writing skills, and proven publishing ability are also required.

Salary commensurate with experience. Excellent employee benefits package.

This is a permanent, full-time position.

If this opportunity is of interest to you, please forward your cover letter, resume and samples of your writing in strict confidence by February 15, 2011 to:

Curator Search Committee
Art Gallery of Southwestern Manitoba
710 Rosser Avenue Unit 2
Brandon, MB R7A 0K9
Fax: 204 726-8139
Email: director -at- agsm.ca

- Karen Love (Manager of Curatorial Affairs at Vancouver Art Gallery) has written this excellent primer for emerging curators, the Curatorial Toolkit. (PDF download). It's very interesting to look over the bones of our profession, see what the essential, common sense information that we should be imparting to younger generations is. Especially since, with the proliferation of curatorial studies in academia, there may be an emphasis on theory rather than what I would call craft.

- But, lest you think I am anti-theory, I recently was delighted to see (and blogged a quick announcement about) the launch of the Journal for Curatorial Studies, which will be edited by Jim Drobnick and Jennifer Fisher. The first issue of this journal is forthcoming, but I am certain it is one to watch.

- Last but not least, a little personal note. I was recently being interviewed by some university students who wanted opinions from a curator for an imaginary smartphone app they were developing that would allow curators to "shop" for work, and much more. I daydreamed out loud with them about looking at artist profiles and work, and then being able to organise it like a mind-map, developing my own categories and tags. I have such a ragtag collection of notes (both digital and analogue) on art and artists that I want to file away for later, that some kind of application like this seemed like a wonderful dream. Quite suddenly in the middle of the conversation I realised this was a terrible idea -- if it was all public. "I wouldn't want to share that information," I said, to their mild dismay. I realised that if I added a tag such as "dark" or "poetic" or "layered" to an artist or work, (terms that might be a shorthand for so many other things in my own mind) to the artist, or to others, it might not seem merely simplistic, but actually offensive. It might ruin some of the mystery involved in curatorial choices as well (which was a lesser concern). I ended up blurting out to the students, "you wouldn't want to know how sausage is made, either", but that isn't quite what I meant. I meant something nicer, like you wouldn't want to know how much work it was to erect the Eiffel Tower, or something similar. Maybe that is food for thought for you. What would be your dream digital tool? How much sharing would be involved in this tool -- some, none, a little bit? Do you feel like you are making sausage, or building the Eiffel Tower? All I know is that I would love an app that would intelligently record my mind maps of art and artists as I see them or otherwise encounter them -- if it's totally private, and with a self-destruct button too, perhaps.

The Journal of Curatorial Studies seeks original research articles on the subject of curating and exhibitions, as well as case studies, interviews and reviews of recent books, exhibitions and conferences.

The Journal of Curatorial Studies is a new international, peer-reviewed publication that explores the increasing relevance of curating and its impact on exhibitions, institutions, audiences, aesthetics and display culture. Inviting cross-disciplinary approaches from visual studies, art history, museum studies, critical theory, cultural studies and other academic fields, the journal encompasses a diversity of contributions on curating and exhibitions broadly defined. By catalyzing debate and serving as a venue for the emerging discipline of curatorial studies, this journal encourages the development of the theory, practice and history of curating, as well as the analysis of exhibitions and display culture in general.

Through investigations of current and historical exhibitions, display formats in the art context and cultures at large, individual curators and their oeuvres, and the political and theoretical issues influencing the production of exhibitions, the journal promotes a wide-ranging inquiry into what constitutes “the curatorial.” While curating as a spatialized discourse of art objects remains important, in the current era organizing an exhibition involves a much more complex set of critical practices and self-reflexive methodologies that can have effects both locally and globally. This expanded cultural function of curating generates not only exhibitions for audiences to view, but also queries the nature of aesthetic experience, the authority of institutions, the formation of ideology, and the construction of knowledge. The readership of the Journal of Curatorial Studies includes scholars in curatorial studies, art history and museum studies, along with gallery and museum professionals, independent curators and art critics, and cultural theorists interested in art and display.

All submissions should be in English and adhere to the Intellect Style Guide. Please send submissions and correspondence to:

Jim Drobnick, Editor
Associate Professor, Ontario College of Art & Design
jim -at- displaycult.com

Jennifer Fisher, Editor
Associate Professor, York University
jefish -at- yorku.ca

Journal of Curatorial Studies
372 Sackville Street
Toronto, Ontario, Canada M4X 1S5
(001) (416) 515-0177 (tel/fax)

Call for Submissions

Vidéographe: 2010-2011 Programming

Deadline: Monday January 11, 2010 – 17h

Vidéographe invites Canadian and Quebec artists, curators, art centres and galleries to submit proposals for video art programs and media arts exhibitions.

Since its founding in 1998, the programming sector of Vidéographe has been devoted to promoting and exhibiting video art in its various forms and through its relationships with other artistic disciplines. Six activities per year are organized in different venues and in partnership with other cultural organizations.

Projects selected by a committee of peers will be presented in Vidéographe's annual programming. Proposals that provoke thought on the language of video and its modes of representation, encourage debate, and promote exchanges between different media arts practices are encouraged.

Note that Vidéographe pays fees to curators and to artists for screenings and exhibitions.

You can obtain the detailed description of this call by contacting Katherine Jerkovic at espace -at- videographe.qc.ca, or by calling 1 514 866 4720.

The University of Western Ontario invites applications for the position of Director/Chief Curator, McIntosh Gallery. The McIntosh is a public gallery, located at the centre of The University of Western Ontario campus in London, Ontario, Canada, and serves the University and the broader arts community, linking regional, national, and international academic and public constituencies.

The Gallery is supported through The University of Western Ontario, with additional funding provided by the Government of Ontario through the Ontario Arts Council and by the Canada Council for the Arts. The permanent collection includes over 3300 works in various media, dating primarily from the early 19th Century to the present. The collections mandate focuses on regional and national Canadian art. The McIntosh Gallery is a vital component of the University's teaching and research activity in the visual arts and media, providing a resource for scholarship and practice in art history, contemporary arts, and museology.

The Director/Chief Curator of the McIntosh Gallery reports directly to the Provost and Vice-President (Academic) of The University of Western Ontario and exercises executive authority on behalf of the McIntosh Gallery Committee of the University's Board of Governors. Leading a staff comprised of a Curator, a Registrar & Installations Officer, Administrative Assistant and a strong group of work-study students and volunteers, the Director/Chief Curator is responsible for the artistic vision, leadership and management of the Gallery, including the setting of operational priorities, budget management, coordination of staff and volunteer activities, and promotion of the Gallery in its academic and public role as a cultural resource within the University and in the broader community. The Director/Chief Curator is also responsible for overseeing the development of the collections, planning exhibitions on the campus and in the community, and creating effective strategies for generating resources in support of Gallery activities and acquisitions.

The appointment, to be effective January 1, 2010, is for a period of five years, renewable. This challenging position demands superb interpersonal and communication skills and sound judgment to provide strategic leadership for the evolving role of the McIntosh Gallery in both its academic and public dimensions. A substantial background in visual arts and arts administration is essential, as is familiarity with the contemporary local, national and international contexts within which the Gallery operates. The successful candidate should hold a Masters degree or higher in Art History or Curatorial Studies – or equivalent experience – and possess a record of accomplishment documented through a strong publication and exhibition history. This position also requires deep familiarity with the theoretical, historical and intellectual contexts of contemporary art practices and a demonstrated ability to work effectively in an environment of research and scholarship.

The Selection Committee expects to begin its review of candidates in September. To receive consideration, applications or nominations should be received prior to September 10, 2009. The University of Western Ontario is committed to employment equity and welcomes applications from all qualified women and men, including visible minorities, aboriginal people and persons with disabilities.

Applications including an up-to-date curriculum vitae and a Statement of Curatorial Vision and Proposed Direction for the McIntosh Gallery (no more than 500 words) should be submitted in confidence to:

Chair, McIntosh Gallery Selection Committee, Office of the Provost & Vice-President (Academic), Room 119A, Natural Sciences Centre, London, ON N6A 5B7, Canada, or electronically to: vpacademic -at- uwo.ca

The Research Fellowships Program of the National Gallery of Canada encourages and supports advanced research. The fellowships emphasize the use and investigation of the collections of the National Gallery of Canada, including those of the Gallery’s Library and Archives. 2009/2010 competitive fellowships are offered in the field of Canadian Art (including the Indigenous Art of Canada); European and Modern Art; and Art Conservation.

Applications are welcomed from art historians, curators, critics, independent researchers, conservators, conservation scientists and other professionals in the visual arts, museology and related disciplines in the humanities and social sciences, who have a graduate degree or equivalent publication history. The fellowships are open to international competition.

Fellowships are tenable only at the National Gallery of Canada. The term of full-time residency must fall within the period 1 September 2009 to 31 August 2010. Awards can be up to $5,000 a month, including expenses and stipend, to a maximum of $30,000.

The National Gallery of Canada Library and Archives houses the most extensive collection of visual arts literature in Canada (250,000 books and periodicals), and constitutes the national research collection in the field. Materials on Canadian art are collected comprehensively. Holdings are international in scope, with notable strengths in the history of western European and North American art and the history of photography.

Deadline: 30 April 2009.

For application procedures, please consult the website www.gallery.ca or contact:

Jonathan Franklin
Chief, Library, Archives and Research Fellowships Program
National Gallery of Canada
P.O. Box 427, Station A
Ottawa, Ontario
K1N 9N4
Canada

telephone (613) 990-0590
fax (613) 990-6190
fellowships -at- gallery.ca

The Kamloops Art Gallery is seeking an experienced curator to fill the permanent position of Curator.

The Curator assumes the lead role in research, selection, planning, organizing and evaluation of exhibitions and related public programs and publications, as well as the permanent collection, and oversees the activities of the Program Team, administers budgets and supervises staff.

The successful candidate possesses a degree in art history or a related field with an extensive understanding of contemporary art and art history; at least five years gallery experience; excellent written and verbal communication skills; excellent organizational and computer skills (specifically Microsoft programs); and excellent supervisory skills.

Salary: $50,000

Employee status: Permanent full-time position

For a detailed job description please go to www.kag.bc.ca

Application deadline: Friday, February 20, 2009

Please e-mail, mail, or deliver applications to:
Beverley Clayton, Acting Director
Kamloops Art Gallery
101-465 Victoria Street
Kamloops, BC V2C 2A9
or bclayton -at- kag.bc.ca

Faxed applications will not be accepted.

The Kamloops Art Gallery is an equal opportunity employer and thanks all applicants for their interest in the Gallery. Only those short-listed will be contacted.

Welcome to the July edition of Pick 'N Mix, my monthly annotated list of things that caught my eye over the course of the previous month. Check it out:

- A new Curating.info Conversations e-book has been released! Download it now.

This edition of Curating.info Conversations is with Karen Gaskill, the Director and Curator of Interval, and a Researcher at the Foundation for Art and Creative Technology (FACT) in Liverpool. She is also currently completing her practice-based PhD in Digital Media and Social Practice at the Digital Research Unit, The University of Huddersfield. The interview with Karen covered topics ranging from getting outside of the white cube to the expanding role of the audience.

- I recently discovered a blog called "Sideshows", written by Sofía Hernández Chong Cuy. Recently Ms Chong Cuy has been publishing some really interesting interviews with young curators in China and Hong Kong. Recent examples include an interview with Kate Fowle, International Curator at the Ullens Centre in Beijing, wherein the notion of what "international" practice is today is discussed, and the second interview in the series is with Zoe Butt, Director of International Programs at Long March Project in Beijing, China. Well worth a read!

- Ms Chong Cuy, author of Sideshows, asked Kate Fowle to elaborate a bit more on the meaning of her title of "International Curator". Similarly, in this article we find founding film curator of University of California San Diego's ArtPower!, Rebecca Webb, discussing the difficulty of a title like "Film Curator". "A lot of people – when I'm here, anyway – say, 'Oh, do you work in a library or something?'" Ms Webb says. As curators, we all know titles have power and meaning, and this is usually why it is important professionally to seek appropriate credit for the work you have done. These specialist titles that were created for Ms Fowle and Ms Webb are meant to indicate an area of expertise, however, it is clear that it remains confusing for some people (sometimes because they don't understand what curators do in the first place, other times because the notion behind the specialism is so new?). Nomenclature is no small thing. I'll simply wonder aloud here: what can be done to indicate specialisation without inducing confusion?

- CultureGrrl (among other outlets) reported on the "leave" taken by Curator and Deputy Director David Franklin of the National Galleries of Canada. For me, this news story raised several ethical questions. Among all of the very obvious questions around the obligations of the gallery to its employees and to its public, the next issue that arose for me was of Mr Franklin's privacy. Curator at the National Galleries of Canada is a prominent position, to be sure, but did Mr Franklin ever imagine that his decision to take extended leave (or to effectively leave his post) would be fodder for the national and international press? I'm not sure that he did. Whatever his reasons, he isn't appealing to the press to make a case against his employer -- yet -- so perhaps he should be left alone, and we should presume his colleagues are capable of continuing his work, until we hear a statement from Mr Franklin himself. Or do any readers here think otherwise?

Visual Arts Curatorial Program: Banff Centre for the Arts, Canada
Program dates: August 04, 2008 - March 27, 2009
Application deadline: April 30, 2008
Note: Program dates exclude December 13, 2008, to January 4, 2009.

This work study program with The Banff Centre’s Walter Phillips Gallery is designed for emerging curators. This is a hands-on opportunity that allows the participant to work on projects with direct mentorship and support in a multitude of areas focusing on the participants learning objectives. Learning opportunities may be formal sessions, workshops, or informal opportunities arising out of daily situations. The work portion of the experience will primarily focus on activities that complement the participant’s learning objectives as the work relates to the real and ongoing activities of the Walter Phillips Gallery. For further information, please visit the Banff Centre for the Arts' website.

The first of its kind in Canada, The Hnatyshyn Foundation Award for Curatorial Excellence in Contemporary Visual Art will recognize the work of a mid-career curator who has made a significant contribution to the advancement of the contemporary visual arts.

"Curators are an absolutely vital link between the artist and the public," said Gerda Hnatyshyn, C.C, President and Chair of the Hnatyshyn Foundation Board. "Their work is very demanding and it often gets overlooked because the attention is, quite rightfully, on the artists. We want to recognize the important role curators play in fostering and promoting Canadian art and in introducing Canadians to the best contemporary art from abroad."

Candidates for the award will be nominated by a jury of prominent arts professionals chosen by the Foundation for their knowledge of the visual arts across Canada. Independent curators, as well as those working within an institutional context, will be eligible for the award.

The new prize follows on the heels of the $25,000 Hnatyshyn Foundation Visual Arts Award, created last year to honour the work of an outstanding mid-career visual artist. The inaugural prize was presented to Vancouver artist Stan Douglas earlier this year. The recipients of both visual arts awards for 2007 will be announced in November.