Curating.info

Pick 'N Mix - November 2009

nospam@example.com (Michelle Kasprzak) — Tue, 03 Nov 2009 15:50:00 -0600

Welcome to this month's Pick 'N Mix.

- "Everyone's a Curator" is the theme of a recent item over at Bad at Sports. As they say: "Even Umberto Eco. I love what the Louvre is doing by signing him on as guest curator (as they have previously done with writer Toni Morrison and composer Pierre Boulez)". I've blogged about this exact thing at this exact place happening before, where I speak in a sombre fashion about the "rather serious role of cultural arbiter" that curators play.

- Everyone's a curator, which I suppose makes everyone stressed? File this under "slightly strange finds": an article on CNN Money ranking curator as one of the most stressful jobs around.

- Ah, no, I've got it wrong, the stress comes from all the ways there are out there to be ranked and turned into list-fodder! There's been lots of buzz (both positive and negative) about the ArtReview Power 100 list and Hans Ulrich Obrist, superstar curator, takes the number one spot. Meanwhile, Hyperallergic blog did a spoof list of the Top 20 Most Powerless People in the Art World, wryly listing "assistant curators living off $27,000 salaries, with $80,000 in grad school debt from a fancy curatorial studies program" in 7th place.

- The issue of private collector's exhibitions, especially in these uncertain financial times, won't go away. I read about it first on Tyler Green's blog. He quotes the position of AAMD executive director Janet Landay: "We assume that our members bring the same curatorial purpose to these exhibitions as they do to any other, ultimately to answer the question: 'Does this presentation support our mission and benefit our audiences?' Moreover, these exhibitions often have works of art not frequently seen by the public. So, the museum is providing an opportunity for audiences to experience and enjoy new objects that they otherwise wouldn't have the chance to see." Green says that: "Landay's comments miss the point. It is virtually impossible for shows from single private collections to have the same art historical or scholarly purpose as curator-generated exhibitions because they rely on a single, narrow source. Fluff shows are the opposite of curatorial purpose because by narrowly restricting a curator's view they limit curatorial freedom, investigation and inquiry. They are the primary means through which art museums devalue their curatorial departments." I have to say that I agree with Green, however the question is why are these exhibitions becoming more and more the norm rather than ostracised because of the impact they have on curatorial freedom that Green notes?

- There is a new issue of On Curating, check it out! The whole issue is terrific but my highlights were the essays "Avant-garde Institute" by Joanna Mytkowska and "Kinoapparatom presents: Other Spaces of Cinema" by Simone Schardt and Wolf Schmelter.

- I was also absorbed by "Curatorial Responsibility and the Exhibition of Israeli and Palestinian Political Art in Europe" an essay that was written for the catalogue of "Overlapping Voices, Israeli and Palestinian Artists", by curators Karin Schneider, Friedemann Derschmidt, Tal Adler, and Amal Murkus. I find their working difficulties sobering, and in the end their questions put top 100 lists and the opinion of CNN Money very much in perspective.

Job: Curator, Fashion Space Gallery, University of the Arts London

nospam@example.com (Michelle Kasprzak) — Mon, 02 Nov 2009 14:51:05 -0600

Curator
Fashion Space Gallery
University Of The Arts London - London College of Fashion, W1

£34,030 - £40,858

University of the Arts London is a vibrant world centre for innovation, drawing together six Colleges with international reputations in art, design, fashion, communication and performing arts.

The Fashion Space Gallery at London College of Fashion is a contemporary exhibition space, hosting displays of fashion-related arts. As Curator, you will be responsible for creating a critical and experimental exhibition programme that encourages diversity and reflects our growing reputation as a global leader in fashion education and research.

As well as promoting the Gallery through events, print, the web and the media, you will work with artists, designers and technicians to ensure that exhibitions are delivered on time and to budget. You will also develop the Gallery's commercial activities, while searching for additional funding, together with colleagues.

As a senior member of the team, you will be expected to contribute to strategic planning. For this, you will need managerial and curatorial experience, plus a relevant postgraduate qualification (or equivalent). We are also looking for enthusiasm and an awareness of developments in your field. With these talents, you will be capable of bringing innovative thinking to gallery management and introducing a new approach to our exhibition programme.

In return, we offer a competitive employment package, including a salary that reflects working in London; generous annual leave; a final salary pension scheme; and a commitment to your continuing personal and career development in an environment that encourages creativity, diversity and excellence. Relocation assistance is also available.

Closing date: 12th November 2009

Please visit http://jobs.arts.ac.uk to download an application form or alternatively please contact Alaina McGhee, London College of Fashion, telephone: 020 7514 7466. Email: vacancies -at- fashion.arts.ac.uk

University of the Arts London aims to be an equal opportunities employer embracing diversity in all areas of activity.

Opportunity: apexart Franchise Two

nospam@example.com (Michelle Kasprzak) — Sun, 01 Nov 2009 15:31:30 -0600

apexart Franchise Two - 'considering the same boundary between art and business. again'

Accepting submissions from anyplace, now through December 15, 2009

As the art world adopts strategies from the world of business, cultural organizations have set up franchises around the globe. For the second year, apexart is joining this trend and setting up its own franchise in a new city.

This competition is an opportunity for anyone from anywhere to create their own temporary apexart in your city, town or village. For a four-week exhibition from March 13 - April 17, 2010, you will be the director, curator and/or staff of your own apexart franchise with a budget, a modest salary, and almost complete control. apexart will provide the funding (up to 10,000 USD), along with the necessary guidance to make your curated exhibition happen. This includes an apexart brochure in an edition of 10,000 and its distribution around the world to more than 108 countries and a visit or two from us

In addition, prior to your show, we'll arrange to bring you to NYC for three days, to visit apexart.

The Franchise is an opportunity to help bring an idea to fruition in a new place and to give someone an interesting opportunity. This year we will exclude people in large cities like New York, Rio de Janeiro and Tokyo from applying, and invite submissions from locations with less than 500,000 people. Places such as Moshupa or Priboj. Baton Rouge or Lübeck, Cadiz or Az-Zawiyah, Heidelberg or Zinder.

To participate, please submit a reason in the form of a 250 word essay, along with four images, to tell the jurors why apexart should come to you. We encourage applicants to use the 250 words in any way they see fit. Applications will be accepted until December 15, 2009.

Visit apexart.org/exhibitions/franchisetwo.htm for information on how to apply.

Competition: UK's Next Top Curator

nospam@example.com (Michelle Kasprzak) — Wed, 21 Oct 2009 08:47:02 -0500

Salon Contemporary, located in London's Westbourne Grove, Notting Hill, is hosting a competition for aspiring curators. This competition will feature a series of pop-up galleries across the Royal Borough of Kensington and Chelsea (RBKC), each lasting 1 week to 2 months. These pop-ups will take place in sites left empty by the recession, and each will combine different elements of art and lifestyle – Art & Design, Art & Fashion, Art & Music, Art & Environment, Art & Food, and so on.

Six contestants will be chosen to each run a gallery. Each competitor will have the opportunity to pitch a pop-up gallery theme, help select artists, curate a show, and run the gallery for the length of its operation. Once all of the shows have been launched, a panel of renowned figures within the art world (to be announced next month) will judge the galleries and select the two best curators. The new top curator will be chosen from these two by a public vote run through Salon Contemporary's website.

This competition provides a huge opportunity for any art student with a talent for curating, and any business student with an interest in applying his or her skills to the art market. It will be the experience of running a small business (with the support of a parent organization), of interacting with renowned art-world figures, of dealing with artists and collectors, and of branding/marketing an operation. Additionally, the winner of the competition will receive a £5,000 bursary (full tuition) for the Salon Contemporary apprenticeship program – the most promising curator will get a chance to build on his or her skills and gain the education necessary to run a fully-independent art dealership.

To enter, please submit your CV and a cover letter (of no more than 500 words) to curator -at- salongallery.co.uk. Only current students and graduates of the last two years are eligible to apply. Please note this is an ongoing competition.

Job: University Curator – Emerging Artists

nospam@example.com (Michelle Kasprzak) — Sat, 17 Oct 2009 05:08:56 -0500

University Curator – Emerging Artists

£34,030 – £40,858 (potential for contribution pay up to £44,245)

Department of Communications and Development,

Our Emerging Artists’ Programme supports and promotes the work of recent alumni, who are among the most promising young artists in the UK. You will strategically manage, develop and promote this undeniably exciting programme. This will include overseeing an exhibition programme, the University Art Collection, and the Artist and Collectors Exchange.

Along with a degree, or equivalent, in curation / arts administration, you will need proven experience of working with young artists and established art collectors. You are certainly eager to work with the next generation of artistic practitioners – something that is reflected in your strong understanding of the contemporary art world, and your exceptional organisational, networking, promotional and people skills.

In return, we offer a competitive employment package including a salary that reflects working in London; a generous annual leave; a final salary pension; and a commitment to your continuing personal and career development in an environment that encourages creativity, diversity and excellence. Relocation assistance is also available.

Closing date: 30th October 2009

Please visit http://jobs.arts.ac.uk to download an application form or alternatively please contact, Recruitment Administrator, Department of Communications and Development, telephone: 020 7514 8144, email: h.wigginton -at- arts.ac.uk

www.arts.ac.uk/jobs

University of the Arts London aims to be an equal opportunities employer embracing diversity in all areas of activity.

Pick 'N Mix - October 2009

nospam@example.com (Michelle Kasprzak) — Mon, 05 Oct 2009 18:10:00 -0500

Welcome to this month's Pick 'N Mix, a selection of interesting tidbits about curators that I spotted on the web over the past few weeks.

- A great interview with Mary Jane Jacob is available over at the always interesting Bad at Sports podcast/blog. Jacob is currently Professor and Executive Director of Exhibitions at the Art Institute of Chicago, and former Chief Curator at the MCA Chicago and LA MoCA.

- Some ruminations over at the New York Times on the use and abuse of the term curator. They don't seem too worried about this trend. I guess I'm really old fashioned (or think there has to be a better word for what they describe).

- This article, that describes how famous curator Klaus Biesenbach decorates his home, starts with an excellent anecdote about how he "transformed" a hotel room he stayed in a few years back. The article is a fascinating glimpse into Mr Biesenbach's life, an easy read, and it's in a fashion magazine (so you can mull over the context whilst you read)!

- I'm nearly finished my book review of A Brief History of Curating, by Hans Ulrich Obrist. The book features eleven interviews with key curators in the field and it is a really fun read so far, I have to say. A review soon, I promise!

- Curating.info has a Facebook page, and of course many of you read this site by subscribing on e-mail or via RSS feeds. I thought I'd throw one more thing into the mix: a Twitter feed! The Twitter feed works just like RSS or the e-mail subscription: whenever I post something new here, you are notified. That's all! I'm not sure if it will be popular or if it is even necessary, but it's not much effort on my part to try it out. If you are interested in a Twitter feed with a bit more going on, feel free to follow my own Twitter profile.

- Speaking of book reviews, and of Twitter feeds, I notice that N. Elizabeth Schlatter has a great page devoted to books for curators, and she also has an interesting Twitter feed.

Enjoy!

Opportunity: Curatorial Work Study, Banff Centre

nospam@example.com (Michelle Kasprzak) — Mon, 05 Oct 2009 18:03:53 -0500

Program dates: January 04, 2010 - July 02, 2010 (Successful applicants will initially be offered a 6 month contract but this may be extended with the approval of the participant and The Banff Centre. )

Application deadline: October 30, 2009

The curatorial work study program with the Walter Phillips Gallery is designed for emerging curators. This is a hands-on opportunity that allow individuals to work on projects with direct mentorship and support in a multitude of areas focusing on the participants learning objectives, and may include curatorial studies and arts management and administration. Learning opportunities may be formal sessions and/or 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.

Work study placements are appropriate for individuals wishing to leave their work worlds or formal advanced studies for a period of time to expand their careers, professional experience, and capabilities.These programs require full-time commitment and independent thinking. All participants sign a learning contract that assists in the evaluation of their work study experience.

Applicants or leaders from professional arts organizations, cultural and technology industries, other training organizations, colleges and universities, research centres, and labour and government agencies are encouraged to approach Visual Arts to create work study partnerships.

For more information, and to apply, visit the Banff Centre for the Arts website.

Call for participation: Escalator Visual Arts

nospam@example.com (Michelle Kasprzak) — Tue, 22 Sep 2009 16:56:43 -0500

CALL FOR PARTICIPATION - DEADLINE EXTENDED ESCALATOR VISUAL ARTS

Wysing Arts Centre invites applications for the artistic retreat The Economics of the Art System.

Following the success of Neither Here Nor There, the second Escalator artistic retreat The Economics of the Art System will take an in depth look at the art market, exploring the financial and cultural economies that drive the industry. After the unprecedented success of contemporary art sales in recent years with the emergence of new fairs, collectors and new markets internationally, the global financial crisis has raised questions about the long term viability of the art market. From commercial galleries, collectors and art fairs, to the influence of auction houses this retreat will question the value of art as commodity and the commercial influences on artists' practices, as well as considering survival tactics for artists, curators and gallerists.

Contributors include: Sarah Thornton, author of Seven Days in the Art World, and Francis Outred, Head of Post War and Contemporary Art at Christies. The retreat will also provide the opportunity for individual critical feedback from peers and invited curators, artists and theorists.

The retreat is open to any visual artist or curator living and/or working in the East of England. 10 artists and/or curators will be invited to attend the retreat following a selection process (details below).

Dates

The retreat will take place from 26-29 October 2009. The deadline for applications to attend the retreat is 5pm, Friday 25 September.
Successful applicants will be notified by Friday 2 October.

How to Apply

There is no form to fill in to apply for the retreat. Instead you are asked to answer the following three questions in your application and also to provide the information listed below. Wysing is happy to receive MP3/4 files or DVDs instead of written applications.

1. How is this retreat relevant to your practice at this time? (max 250 words)
2. What do you think you can bring to the retreat? (max 250 words)
3. What would you want to get out of the retreat? (max 250 words)

Please also provide:

- A statement on your practice (max 500 words)
- A current CV
- A selection of 6 images or other material that represents your practice (cds, dvds, etc)

Additional information:

- If you wish to apply for a bursary (see below) then please include this information.
- If you wish to book a bed in our farmhouse (see below) then please include this information.
- Please also include information on any dietary or access needs.

Selection Procedure

Following submission, retreat participants will be selected by the Royal College of Art's MA in Curating students and lecturers, with Wysing's Curatorial Team (Donna Lynas and Lotte Juul Petersen).

Selection will be based on proposals received following the Call for Participation and will be based on the information provided as described in How to Apply.

Accommodation

Wysing can provide free accommodation in our farmhouse. All rooms are for multiple use and we are not able to offer individual rooms. Facilities include shared bathrooms, living room and kitchen.

Artist Bursaries

A small number of bursaries are available to any applicant in need of financial support to attend the retreats. Those wishing to apply for a
bursary are invited to write no more than 250 words on how much financial support they would need to enable them to attend the retreat
and what the money would be used for.

Post Retreat Funding

All artists attending the retreat will be invited to propose ideas to develop their findings from it further, either jointly or individually.
A number of proposals (dependant on numbers submitted and amounts) from each retreat will then be selected and supported to submit applications to Grants for the Arts to realise their ideas.

Further information

The retreats are free to participants. Meals are also provided free of charge. For any specific information please call 01954 718881 or email escalator -at- wysingartscentre.org

Forthcoming Retreats

Calls for participation for forthcoming retreats will be made two months
in advance of each retreat. The subject of the next retreat is:

January 2010 Distribution Methods

Call for Participation to go out November 2009

Escalator is the pioneering talent plan from Arts Council England, East that finds, supports and invests in the best artistic talent across all artforms throughout the East of England. Escalator is establishing the East of England as the leading UK region for talent development. Since it launched in 2003, Escalator has helped over 250 artists to develop their work, forge new partnerships and reach new audiences.

Job: Curatorial Assistant, Liverpool Biennial

nospam@example.com (Michelle Kasprzak) — Tue, 15 Sep 2009 09:04:40 -0500

Curatorial Assistant
Salary: £16,000 per annum
Temporary Contract (until end of January 2011)

This is a unique opportunity to work within the curatorial profession in an international arts commissioning context.
The Curatorial Assistant will work with the International Curator and the Projects Curator to assist in the delivery of the International exhibition through assisting with the administration and production.

This role demands enthusiasm, commitment and flexibility; and the ability to thrive in a high pressure environment. Application packs can be downloaded from Liverpool Biennial website www.biennial.com. For further information email jobs -at- biennial.com or call 0151 7097444
Closing date: 5pm on 12 October 2009

Liverpool Biennial is committed to promoting equal opportunities and encourages applications from all sections of the community.

Liverpool Biennial
Established in 1998, Liverpool Biennial is one of Europe’s most exciting visual art agencies, as well as the UK’s largest and most widely reviewed festival of contemporary visual art, welcoming 451,000 visitors in 2008. A major player in the UK’s cultural economy, Liverpool Biennial’s mission is ‘engaging art, people and place’.

Pick 'N Mix - September 2009

nospam@example.com (Michelle Kasprzak) — Wed, 02 Sep 2009 03:47:47 -0500

Welcome to this month's Pick 'N Mix, a selection of interesting tidbits about curators that I spotted on the web over the past few weeks.

- Serpentine Gallery Co-Director Hans Ulrich Obrist has launched a project, "A Protest Against Forgetting," which encompasses a badge (emblazoned with "Walter Hopps will be here in 20 minutes") a book, talks, and more. The book, A Brief History of Curating, features eleven interviews with key curators in the field. I hope to post a review of it soon.

- In this interview with Aaron Rose, curator of the Alleged Gallery in NYC, he discusses how the 'outsider art' and 'street art' he was working with rose to prominence. He speaks a bit about the balance between what was (and still sometimes is) art produced by rebellious characters, and the corporate brands that want to attach themselves to this type of practice.

- A fabulous, frank interview with famous art collector Charles Saatchi reveals his thoughts on curators, which ranges from from skin-crawling stereotype ("The familiar grind of 1970s conceptualist retreads, the dry-as-dust photo and text panels, the production line of banal and impenetrable installations, the hushed and darkened rooms with their interchangeable flickering videos are the hallmarks of a decade of numbing right-on curatordom") to humble acknowledgement ("when you see something special, something inspired, you realise the debt we owe great curators and their unforgettable shows – literally unforgettable, because you remember every picture, every wall and every juxtaposition"). A highly entertaining read, no matter where you sit in the art ecosystem.

- And in a final quirky item (once again revealing my obsession with hotels), it was reported that a German hotel was taking payment from artists in artwork rather than cash. Will they eventually also take payment from curators by arranging shows in their rooms rather than cash? I wondered. It turns out to be a specific project directed by Kunst-Werke in Berlin. In the meantime, I will keep imagining about how art could become the currency of the future, and whether that is scary or not.

Job: Director/Chief Curator, McIntosh Gallery

nospam@example.com (Michelle Kasprzak) — Tue, 18 Aug 2009 09:44:07 -0500

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

Job: Curator, Barbican

nospam@example.com (Michelle Kasprzak) — Mon, 17 Aug 2009 17:08:07 -0500

An exciting opportunity has arisen for a creative and dynamic curator to join Barbican Art Gallery, a leading London venue for the presentation of modern and contemporary art, photography, architecture and design exhibitions. Part of the Barbican Centre, Europe’s largest arts venue, the Gallery’s activities take place in the context of a widely acclaimed programme of international music, dance, theatre, visual arts and cinema.

As curator, you will work with the Head of Art Galleries and Senior Curator to deliver our world-class exhibition programme. You will contribute imaginative and innovative ideas to the Gallery’s programming discussions; you will have a flair for devising authoritative exhibitions which also appeal to wide audiences; and you will work to build the Gallery’s relationships with artists and institutions in Britain and abroad.

Barbican Art Gallery are looking for a curator with a thorough knowledge of 20th and 21st century art and/or design and architecture. You will have substantial experience curating and organising major loan-based exhibitions, in commissioning and editing publications, and in leading teams to deliver complex projects. Outstanding interpersonal and communication skills are essential.

To apply online, please visit www.cityoflondon.gov.uk/jobs.

Alternatively, please contact the Corporate Recruitment Unit on 020 7332 3978 (24hr answerphone) or email cru -at- cityoflondon.gov.uk quoting reference BC156.

Minicom service for the hearing impaired available on 020 7332 3732.

Closing date: 5pm, 7th September 2009. Late applications will not be accepted. Interviews to be held week commencing 21 September 2009

Salary: £32,510 - £38,880 pa inc. depending on experience/performance

The Barbican is committed to Equal Opportunities and welcomes applications from all sections of the community.

Job: Curator, Canadian Clay & Glass Gallery

nospam@example.com (Michelle Kasprzak) — Sun, 16 Aug 2009 10:17:23 -0500

Job Title: Curator, Contemporary 
Institution / Organization: Canadian Clay & Glass Gallery 
Closing Date: August 28, 2009 

The Canadian Clay & Glass Gallery is looking for a Curator who will invest in the mission and mandate of the Gallery and support the Gallery with artistic vision and leadership. The Curator will possess a deep, engaged knowledge of and curiosity about the critical issues related to contemporary art and craft. The Curator will also serve as a strong advocate for the Gallery in local, national and international communities.

CCGG’s curator will implement and bring to full fruition existing planned programming for a period of three years. Concurrent with this activity the curator will conceptualize, design and implement future exhibition programs that build upon the Gallery’s successful history.

The Curator will:

- Plan, design and install exhibitions of contemporary art and co-ordinate related programmes; research and co-ordinate production of related print and promotional materials.
- Provide strong artistic leadership to assist the Director in establishing policy and priority related to long-range goals and the solicitation of outside funding from government, foundation, and private sources.
- Maintain the Gallery’s permanent collection and oversee the strategic growth of the collection with a focus on acquiring works of national significance
- Possess strong writing skills and be responsible for catalogues essays and grants.
- Possess strong verbal communication skills for the delivery of exhibition orientation lectures to education support staff, other staff members and volunteers.
- Work closely and collaboratively with the Director of Education to: supervise and administer the Contemporary Gallery Context and Docent programmes.
- Participate in and/or organize symposia related to contemporary art and fine craft and serve as a positive presence in the Canadian art scene.
- Build strong liaisons and partnerships with other regional, national and international galleries.
- Develop programming with senior, mid-career and emerging artists.

The ideal candidate will have:

- A Masters or Ph.D. in art history (contemporary art/fine craft preferred), studio art or related discipline  
- Evidence of significant curatorial achievement (research, publication, exhibitions, and collections management) with minimum of seven years of professional experience
- Knowledge of museum standards and collections management practices
- Excellent skills in project management, written and oral presentations, staff and volunteer supervision
- Demonstrated success in grant writing

Mission: The Canadian Clay & Glass Gallery fosters interaction among artworks, artists and community. Our exhibitions challenge ideas and perceptions of the definitions of art, craft and design today, as well as concepts of ethnicity and contemporary culture providing meaningful and enriching cultural experiences for a diverse audience and opportunities for the development of philanthropy.

This full time position and offers a benefits package.
Applications must include: CV, curatorial philosophy and salary expectations

Send to:
Director
Canadian Clay & Glass Gallery
25 Caroline Street North
Waterloo, ON
N2L 2Y5
Canada

Or email to: info -at- canadianclayandglass.ca

Review of applications will begin August 28, 2009.
The position will remain open until a suitable candidate is found.

Pick 'N Mix - August 2009

nospam@example.com (Michelle Kasprzak) — Sun, 02 Aug 2009 18:07:00 -0500

Welcome to this month's Pick 'N Mix, a selection of interesting tidbits about curators that I spotted on the web over the past few weeks.

- Interesting material on the use of "slack spaces" for art in the recession continues to accumulate: The San Francisco Sentinel had an article recently, and the recent launch of the "No Longer Empty" initiative in New York City highlights the opportunity that the economic crisis presents for curators and artists interested in transforming spaces in their cities and in remaining active despite the lack of jobs, downturn in sales, and an overall grim outlook.

- Venice Biennale curator Daniel Birnbaum spoke at TED Global and there are some notes from his presentation here. I think it's interesting that he starts from the very basic question of what is a curator, and works from there. TED (which stands for Technology, Entertainment, Design) is known as a high-profile series of conferences that invites household names (and soon-to-be household names) to expound upon their most cutting-edge theories to an elite audience. It's nice to see contemporary artists and curators start to gain more traction on the TED roster. The notes on Birnbaum's session at TED held my interest because for me it is always fascinating to see how people write and speak about the work of curators for a general, non-artworld audience. Give it a read and see what you think of it.

- This article on "The Digital Curator" describes how curators (including emerging and aspiring ones) are using curating virtual exhibitions to kickstart their careers. The article notes how curators can use blogs and online exhibitions to enhance their reputations and gain projects in the "real" world from these efforts, with some interesting examples.

- And last but not least, in this short video, (crank up the speakers, the sound is a bit quiet) curator Stephanie Rosenthal describes the premise behind the "Walking in my Mind" exhibition that she curated at the Hayward Gallery.

Opportunity: MARCO/FRAC Lorraine Awards for Young Curators

nospam@example.com (Michelle Kasprzak) — Thu, 30 Jul 2009 16:05:47 -0500

MARCO/FRAC Lorraine Award for Young Curators
Deadline: 7pm, Friday 30th October, 2009

Organized by the MARCO, Museo de Arte Contemporánea de Vigo, Spain and FRAC Lorraine, Metz (Fonds regional d’art contemporain de Lorraine), France, the purpose of the MARCO/FRAC Lorraine Award for Young Curators is to offer participants the chance to execute an exhibition project to occupy MARCO’s first floor and the exhibition venues at FRAC Lorraine. Entries will focus on the field of contemporary artistic creation and contemplate the participation of two or more artists.

The exhibition project will have a budget of a maximum sum of 30,000 Euro for each venue. The exhibition will take place from May to September, 2010 at MARCO Vigo, and from October, 2010 and January 2011 at FRAC Lorraine. Proposals that include works from the Collection FRAC Lorraine shall be taken into account. To visit the Collection: http://collection.fraclorraine.org

All curators born in and after 1970 are eligible to enter the competition. If an entry is a group creation, one person will be chosen from that group to represent it and act as mediator with the institution. Curators will not be allowed to participate as artists. Entries must be previously unpublished and must contemplate the participation of two or more artists. No more than one project per entrant will be accepted.

The curator of the winning project will sign a contract with the Fundación MARCO and FRAC Lorraine, agreeing to comply with the functions derived from curating an exhibition, the characteristics of which will be specified in the contract. These will include the selection and location of the works, the design and supervision of the installation, and the writing of at least one text for the catalogue. The curator will receive the sum of 7,000 Euro, tax included, as an honorarium.

A jury made up of professionals of the art world will select the winning project and two finalists in November. The jury’s decision is final. The jury may declare the award void should they consider this necessary. The criteria for evaluating the entries will be based on quality and suitability to the characteristics of the first floor of the MARCO as an exhibition space and exhibition spaces at FRAC Lorraine.

The jury will be composed of:
Beatrice Josse, FRAC Lorraine Director
Iñaki Martínez Antelo, MARCO Director
Kevin Muhlen, Casino Luxembourg – Forum d’art contemporain Director
Agar Ledo Arias, MARCO Head of the Exhibitions Dept.
Pedro de Llano, Art Critic and curator

The jury’s decision will be made public in November 2009 and all participants will be notified.

Entries must be exclusively and simultaneously submitted, PDF format to the following e-mail addresses info at marcovigo.com and fraclorraine.coordination at wanadoo.fr, subject: ‘Award for Young Curators’. In case of sending additional information, please send it to: MARCO, Museo de Arte Contemporánea de Vigo. Rúa Príncipe, 54. 36202 Vigo (Pontevedra), Spain and 49 Nord 6 Est - FRAC Lorraine. 1 bis, rue des Trinitaires. 57000 Metz, France. Dossiers received in only one venue will not be accepted. Projects must be preferably written in English, although Spanish, French or Galician languages are admitted.

The closing date for the reception of entries is 7pm, Friday 30th October, 2009. Dossiers received after this time will not be accepted.

For more information:
http://www.marcovigo.com
http://www.fraclorraine.org