Curating.info

Opportunity: Curatorial Internship at the Power Plant

nospam@example.com (Michelle Kasprzak) — Sat, 11 Jul 2009 05:54:47 -0500

Reporting to the Senior Curator of Programs and the Assistant Curator of Exhibitions, Curatorial Interns provide a range of administrative and research assistance to The Power Plant's Curatorial and Programming team.

Responsibilities include, but are not limited to:

Administration

- Filing and labeling exhibition and public programming materials
- Managing the research library
- Updating the catalogue exchange database
- Helping to coordinate the submissions review program
- Compiling exhibition checklists and didactic panels
- Assisting with artist and speaker travel, hotel arrangements and hospitality
- Securing images for publications and PR
- Helping to fulfill catalogue orders
- Assisting in compiling packages for artists, galleries, and lenders

Research

- Researching artists, performers, film makers, and lecturers for exhibitions and programs
- Compiling exhibition reading packs and bibliographies
- Proposing themes and participants for public program events

Writing

- Preparing texts on artists, public programs and exhibitions

Public Interaction

- Assisting at exhibition openings and public programs
- Writing and leading one gallery tour of the current exhibition
- Responding to enquiries from the public

Requirements and Timeframe:
Internships are open to anyone with a serious interest in contemporary art who has completed an undergraduate degree within the visual arts, art history or humanities.

A minimum of two days per week for three months is required, during regular office hours of 9am - 5pm (or the equivalent number of hours over a shorter time period). Hours do not need to span two full days and can be spread out over the course of a week.

How to Apply for an Internship
Please send the following materials:

- CV
- letter outlining why you would like to intern at The Power Plant. Include details of when you would seek to start/finish and confirm your ability to meet the necessary time requirements
- contact information for two referees (one academic, one previous employer)
- writing sample (a class essay, a published text, or an article that you intend for publication: avoid anything too personal or flowery)

Send materials to: desposito -at- harbourfrontcentre.com

There is no strict deadline for applying for a Curatorial Internship. However, the Power Plant suggests that you contact them at least four months in advance as Curatorial Internships are competitive and are typically confirmed several months in advance.

Please direct responses to:
Daniela Esposito, Head Animatuer
The Power Plant
231 Queens Quay West
Toronto, ON M5J 2G8 Canada

thepowerplant -at- harbourfrontcentre.com

T: 1-416-973-4949

Opportunity: Programme Fellow, Stills

nospam@example.com (Michelle Kasprzak) — Thu, 02 Jul 2009 16:33:01 -0500

Stills is offering an 18-month Fellowship to an arts professional of minority ethnic background.

The Fellow will contribute significantly to Stills' curatorial and programming activities, which supports artistic and photographic practice through an integrated programme of exhibitions, events, creative projects and public engagement.

Stills is particularly interested in individuals with good research skills and awareness of issues within contemporary visual art and photography, as well as issues about diversity, representation, migration and diaspora.

Stills works with Scottish, UK and international artists and with communities to present and explore contemporary visual art and photography. Located in the centre of the Scottish capital, Stills' work provides an innovative complement to the extraordinary year round artistic and social activities for which Edinburgh is famously known.

The Fellowship is funded by the Scottish Arts Council, as part of its commitment to promote equality of opportunity for minority ethnic practitioners within the terms of the provision of Section 35, 37(1) of the Race Relations Act 1976 (amended).

Salary - scale £16,259 – £17,789 plus £4k training budget, Full Time.

The deadline for your application to reach Stills is 10am Monday 20 July 2009.

For more information, please send a SAE to Beth Miller, Stills, 23 Cockburn St, Edinburgh, EH1 1BP, or visit the Stills website for a downloadable form.

Pick 'N Mix - July 2009

nospam@example.com (Michelle Kasprzak) — Thu, 02 Jul 2009 13:02:49 -0500

Welcome to July's Pick 'N Mix!

- This report on a curatorial summit at the Banff Centre for the Arts appears to have slipped past my radar when it first came out, but thankfully Leah Sandals (the author of the report) mentioned it again recently. Trade Secrets: Swapping Curatorial Confidences was a summit held in late 2008 with eminent curators in the field, including Matthew Higgs, Mark Mayer, Richard Flood, Sabine Breitwieser and many more. At one point in the report, Sandals quotes Barbican curator Francesco Manacorda, saying he was "very frightened about many curatorial projects having as an audience colleagues only. [...] very often in curating, people disregard one of the two final clients of the curator—the public or the artist" -- a concern I agree with and touched on in my "For What and For Whom?" essay.

- If you're keen to participate in debates and discussions, LabforCulture is producing three online discussions that are sure to provide stimulating platforms for exchange. "Converging Pathways to New Knowledge" promises to unpick some juicy topics on knowledge sharing in the cultural domain through live online debates taking place on the 7th, 8th, and 13th of July. While you're browsing their site, if you are also a cultural blogger, why not add yourself to their growing map?

- Jerry Saltz describes "the curator problem" in a recent article. The "problem" as he sees it is illustrated in the exhibitions curated by Birnbaum at the Venice Biennale, which in Saltz's words are "full of the reflexive conceptualism that artists everywhere now produce because other artists everywhere produce it (and because curators curate it). Almost all of this art comments on art, institutions or modernism. Basically, curators seem to love video, text, explanations, things that are "about" something, art that references Warhol or Prince, or that makes sense; they seem to hate painting, things that don’t make sense or that involve overt materiality, physicality, color or strangeness." This call for further risk-taking by Saltz is consistent with his other campaigns and appeals to curators. There is a long but fascinating account of his encounter with Ann Temkin, Chief Curator of Painting and Sculpture at MoMA available online which also presses for diversification and risk-taking: "MoMA desperately needs this to play with its collection. [...] Beuys, Nauman, and Hesse are all bona fide top-dogs; the A-list as art history. I love them all but curators have to take more chances and not just default to the same artists. Other artists were working at extremely high levels in the late 1960s." I admire Saltz's integrity -- not only is he consistent in his arguments, but I think it's a rare art critic that would go out with a high-ranking curator for the sole purpose of having a serious collegial debate -- and Temkin is to be commended too, for taking Saltz up on his invitation.

- On a personal note, I'm quite busy working on curating the exhibition programme for Image Radio, a new media art festival in the Netherlands, and converting my Master's thesis on the voice, performance and technology into a book. Despite all of that, plus my regular job, plus a bit of summer holiday too, I hope to soon post some (long-overdue, and sitting at 99% completion) interviews and book reviews. Stay tuned!

Opportunity: Curatorial Masterclasses at Eyebeam

nospam@example.com (Michelle Kasprzak) — Sun, 28 Jun 2009 17:44:54 -0500

Eyebeam Atelier in New York, USA will be holding a Curatorial Masterclass led by Eyebeam research partner Sarah Cook from CRUMB, the online resource for curators working with media art. The series will be an opportunity for emerging and established curators of art to get together within a focused period of time to learn from each other’s practice, and to develop a greater understanding of curating, open source methods, and working in the public domain.

Through filmed discussions with guests such as Hans and Liz Bernhard, Steve Dietz, Patrick Lichty, and Eyebeam executive director Amanda McDonald Crowley, the Curatorial Masterclass will examine the following themes:

Day 1: Tues., July 7, 3–5PM
What open source is and what it means for art
Guests: Curator, Scott Burnham (Creative Director, Montreal Biennial 2009); Dominic Smith (co-founder, Polytechnic, UK)

Day 2: Thur., July 9, 3–5PM
Fair use, copyright, and the role of publication and documentation in curatorial practice

Day 3: Tues., July 14, 3–5PM
How to manage collaborations and networks effectively with new media tools
Guests: Eyebeam Executive Director, Amanda McDonald Crowley; curator and artist Patrick Lichty

Day 4: Thur., July 16, 3–5PM
Working in the public domain
Guest: Curator, Steve Dietz

Day 5: Tues., July 21, 3–5PM
Getting to know your audiences and useful evaluation

Series Format: The first hour of each day will be a formal conversation modeled on CRUMB’s tea-time chats, and will feature established curators and artists. The second hour will be a rigorous participant driven discussion, building upon the first hours themes and insights. Following each presentation and workshop, participants will have the opportunity to stick around for beer o’clock and conversation with presenters and fellow masterclass participants, as well as participants from other Eyebeam Summer School programs.

Registration will be strictly limited.
Please register online here:

https://salsa.democracyinaction.org/o/528/t/9265/shop/shop.jsp?storefront_KEY=664

Job: Senior Curator, BALTIC

nospam@example.com (Michelle Kasprzak) — Mon, 15 Jun 2009 16:08:39 -0500

BALTIC, one of the largest contemporary art galleries in the world, has established a national and international reputation as a highly successful and exciting centre for contemporary art and is a very important part of the cultural infrastructure of North East England.

BALTIC provides a challenging and rewarding environment in which to work to fully develop your personal potential and offers this exciting opportunity for an enthusiastic individual to join its highly motivated team.

Salary: c. £45,000 pa, Full Time

You will lead the exhibition team and provide astute artistic judgement to contribute to the strategic development of BALTIC's creative vision and its audience development. You will conceive, plan and manage an artistic programme of high quality and international standing. An excellent team leader, you will have significant successful management experience in a gallery or museum, managing a large scale visual arts programme with an international dimension. You will be able to demonstrate extensive experience of audience development and diversity along with strong financial management skills.

For an informal discussion, please contact Godfrey Worsdale, Director on +44 (0)191 478 1810.

For an application pack visit http://www.balticmill.com/jobs, email recruitment -at- balticmill.com or call BALTIC's 24 hour jobsline on +44 (0)191 440 4938, or text phone +44 (0)191 440 4944.

Closing date: Monday 29 June 2009.

Job: Curator, Frieze Foundation

nospam@example.com (Michelle Kasprzak) — Mon, 15 Jun 2009 16:06:44 -0500

Frieze Foundation is looking for an experienced curator for Frieze Projects, Frieze Film and The Cartier Award.

Since the inaugural Frieze Art Fair in 2003, Frieze Foundation has pursued an ambitious curatorial programme, inviting artists to respond specifically to the fair context. Frieze Projects, the critically acclaimed programme of artists commissions, has realised 56 new works by established and emerging artists from around the world, including Ceal Floyer, Jeppe Hein, Mike Nelson, Paola Pivi, Richard Prince, Martha Rosler and Mario Garcia Torres.

Job title: Curator, Frieze Foundation
Requirement: Part time, initially for one year, from 1 November 2009. Based in London.
Salary: Dependent on role and experience.

The job requires:
• An understanding of the complexities of commissioning and producing site-specific projects;
• An understanding of the opportunities and parameters the Fair context provides;
• The ability to commission a relevant programme of artists’ projects and to manage that process from start to finish;
• An informed perspective and strong network of relationships with both emerging and established artists and the curatorial field worldwide;
• A strong track-record in critical writing and editorial skills;
• The ability to work with the existing Foundation team and Frieze Art Fair staff;
• The initiation and maintenance of ongoing relationships with a range of collaborating institutions, public funding bodies and corporate sponsors;
• The skill to support applications for major funding grants;
• The ability to work to deadlines and within budgets.

Interviews will be held in London.

To apply, please send your CV and a covering letter to cv@frieze.com, putting ‘Curator’ in the subject field.
Deadline: 24 July 2009

For further information on Frieze Projects please visit http://www.friezefoundation.org/

Job: Curator, Contemporary Image Collective, Cairo

nospam@example.com (Michelle Kasprzak) — Mon, 15 Jun 2009 10:04:43 -0500

The Contemporary Image Collective (CIC) is an independent non-profit arts initiative founded in Cairo, in 2004, by a group of visual artists and professional photographers.

CiC works to create a platform for production, exhibition, dissemination, research, education and exchange. CiC's mission evolves from an interest in the multifarious modes of image production and consumption, contemporary and historical, arising from within and without art practices, and the ways in which they reflect and deflect the present.

CiC has a special interest in the photographic image at large. Over the years, CiC has sought to engage a wide range of local and international cultural producers, in an attempt to enhance and augment local artistic production and discourse. CiC's interest in exploring, questioning and responding to local artistic needs and concerns qualifies its interest and engagement in international art production and discourse.

CiC is seeking a highly motivated individual to take on the role of curator. This is a key artistic and management position within the institution. The curator will work closely with the CiC director to further the depth and breadth of CiC's mission. It is a complex and demanding role, offering significant responsibility and a diverse, in depth engagement with the local, regional and international art fields. The curator should have a demonstrable knowledge of contemporary art practices and discourse, as well as an active interest in researching and engaging other paradigms of knowledge and practice.

The successful applicant will be expected to develop, fundraise for, and realize CiC's program, ranging from art projects, exhibitions, workshops and classes to various discursive activities. The curator must be able to realize their artistic program, from the stage of conceptualization to financial closure and reporting.

This program should be able to draw on, question and enrich local and regional cultural capital, as well as maintain an international awareness and interest. The program should be exciting, engaging and pertinent, and in its diversity of scope and fields of interest, should address a professional as well as a general public.

Excellent interpersonal skills and advanced organizational skills are necessary, as well as the ability to develop effective partnerships and work collaboratively with the other CiC staff and various other collaborators.

Interested applicants should apply with a detailed CV and a letter of motivation, explaining their interests in working in Cairo and with CiC, and giving a general proposition for their vision of a curatorial direction of CiC.

Applicants do not have to be currently residing in Egypt but must be willing to relocate upon accepting the position. A competitive local salary is offered.

Application deadline: 30th of June, 2009.

Applications should be sent to this email: ciccairoboard -at- gmail.com

Opportunity: The Fifth Curator, International Curatorial Competition

nospam@example.com (Michelle Kasprzak) — Wed, 10 Jun 2009 11:58:05 -0500

The Fifth Curator - International Curatorial Competition
Deadline : 4 September, 2009

The British Council is launching an innovative programme to find an international curator to select its final exhibition at the Whitechapel Gallery.

Following on the heels of Michael Craig-Martin, Jeremy Deller, Nicholas Penny and Paula Rego, a fifth curator is to be selected through an imaginative competition for curators worldwide.

The Fifth Curator competition is a unique new opportunity for an aspiring curator to select an exhibition of works from the British Council Collection. We are looking for someone who is based permanently outside the UK, who believes they have the passion and knowledge to be a leading curator. The winning curator will be given unlimited access to the Collection, which includes over 8500 key works of British art and the resulting exhibition will be shown at the prestigious Whitechapel in the vibrant East end of London in April 2010.

The Fifth Curator exhibition will be the fifth and final exhibition in a series of five exhibitions showcasing the British Council Collection in the Whitechapel Gallery. Artist Michael Craig-Martin selected the first exhibition Passports - Great Early Buys from the British Council Collection, focusing on some of the most prescient acquisitions in the Collection's long history.

'My selection of works for this exhibition barely scratches the surface of the Collection. For every work I felt able to include there were half a dozen I had to leave out... This is a collection that contains hidden treasures, many of which I know will be included in subsequent exhibitions of this series.' (Michael Craig-Martin)

The British Council Collection is widely regarded as one of the greatest collections of modern and contemporary British art in the world. It includes over 8500 works by artists living or working in Britain, and the majority of the works are shown in exhibitions around the world. The series of exhibitions at the Whitechapel Gallery marks a rare opportunity to view works from the Collection in the UK.

For The Fifth Curator exhibition, aspiring curators from outside the United Kingdom are invited to submit an exhibition proposal which features works drawn exclusively from the British Council Collection. We particularly encourage new views and fresh perspectives on the Collection, as these are vital to ongoing debates about British art within an international context.

In November 2009, six short-listed applicants will be invited to London to take part in a week of professional development with the Visual Arts Department of the British Council. During this week, applicants will be encouraged to refine their proposals with the advice, guidance and resources of the Visual Arts team and they will be given the opportunity to visit the Whitechapel gallery to view the proposed exhibition space and meet with the Whitechapel curatorial team. At the end of the week, the winning proposal will be selected by a panel of senior art world figures at a special presentation dinner.

The Fifth Curator competition forms part of the British Council’s ongoing commitment to promote the Collection to new audiences, both in the UK and worldwide and to engage aspiring curatorial talent with one of Britain’s finest collections of British Art.

For more info and how to apply: http://collection.britishcouncil.org/about/news/2210/2212

Job: Curator, Cape Breton University

nospam@example.com (Michelle Kasprzak) — Mon, 08 Jun 2009 16:27:23 -0500

Cape Breton University (CBU) invites applications for a full-time continuing Art Gallery Curator position.

The successful candidate will coordinate activities in support of education in the visual arts; supervise all curatorial work; aim at making the permanent collection more accessible to researchers, students and the public; and liaise with CBU faculty, artists, professional organizations, and governmental bodies. Duties include but are not limited to: maintaining the Art Gallery’s academic profile within CBU; maintaining visual arts education programming with local schools; maintaining good working relations with Cape Breton artists and enhancing relations with indigenous artists and educators; liaising with provincial and national visual arts groups, government bodies, and professional organizations.

Please visit our website to view the full job description – www.cbu.ca/employment.

Qualified candidates should send to the Human Resources Department:

- a letter of application quoting the reference number (CUR0905) and identifying his/her education and experience as it relates to this position;
- a resume;
- complete contact information of three references; and
- a copy of academic transcripts (official transcripts will be required of the successful candidate).

Applications must be received by 4:00 p.m. June 19, 2009. Email applicants will receive a return email confirming receipt.

We thank all applicants for their interest; however, only applicants selected for an interview will be contacted.

Cape Breton University is an equal opportunities/affirmative action employer. All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. Cape Breton University encourages applications from qualified Aboriginal People, African Canadians or other persons from a visible minority group, persons with disabilities and women. Applicants who wish to be considered for this initiative should self-identify in their cover letter.

We share the air! CBU promotes a smoke and scent-free workplace.

Cape Breton University Human Resources Dept.
P.O. Box 5300, 1250 Grand Lake Road 1(902)563-1158 tel.
Sydney, NS B1P 6L2 (902)563-1458 fax
Website: www.cbu.ca email: humanresources -at- ns.aliantzinc.ca

Job: Guest Curator, Le Mois de la Photo, Montréal

nospam@example.com (Michelle Kasprzak) — Fri, 22 May 2009 12:36:44 -0500

LE MOIS DE LA PHOTO À MONTRÉAL 2011
CALL FOR CANDIDATES FOR THE 12TH PRESENTATION: GUEST CURATOR
Deadline : AUGUST 17, 2009

:: Le Mois de la Photo à Montréal is launching its call for the Guest Curator for the 12th presentation of the international biennale of contemporary photography that will take place in September 2011 ::

Every two years since 1989, Le Mois de la Photo à Montréal produces an innovative photography event that serves as a catalyst for artists, other specialists of the image and the general public. This event promotes different tendencies in contemporary photography and creates international exchanges between photographers, the public at large, curators, the media and collectors. Le Mois de la Photo à Montréal works with artists, museums, galleries, artist-run centres, universities, and a large group of other partners to present a stimulating event that, by virtue of a series of mostly solo exhibitions spread across the city, transforms Montréal into one immense coherent group exhibition organized around a single unifying concept or theme.

Since 2003, Le Mois de la Photo à Montréal has invited a Guest Curator to elaborate the theme of each new presentation of the biennale. All the exhibitions, educational activities, the colloquium and the publication are all organized around a singular theme defined by the Guest Curator. For information regarding the curators and themes of previous events, please consult our Web site at www.moisdelaphoto.com where you can also find more information on the organization, its history, and mandate.

The Guest Curator for 2011 will develop a, new, bold and innovative theme that lends itself to a coherent program of exhibitions, publication, colloquium, etc., that will distinguish Le Mois de la Photo à Montréal internationally and provide opportunities for our visitors to develop a better understanding of the theme and issues in contemporary photography in general.

For more details, please download the PDF.
http://mail.moisdelaphoto.com/appel/appel_eng.pdf

Le Mois de la Photo à Montréal | www.moisdelaphoto.com | info -at- moisdelaphoto.com
661 rue Rose-de-Lima, Local 203 | Montréal (QC) | Canada | H4C 2L7 | T, (514) 390-0383 | F. (514) 390-8802

Pick 'N Mix - June 2009

nospam@example.com (Michelle Kasprzak) — Tue, 12 May 2009 08:11:36 -0500

Apologies for a late Pick 'N Mix this month... but I had a great excuse. Like many others in the art world, the beginning of June involved being completely absorbed in the Venice Biennale. You can check out my photos from Venice here.

- While we're on the topic of Venice, the Wall Street Journal posted a short interview with the director, Daniel Birnbaum, who curated the main exhibition spaces at the Biennale. Birnbaum says: "I think if the curator is successful, he becomes invisible in a way." This idea of invisibility may initially seem impossible in this particular case, as indeed Birnbaum's job is a very visible one in a sense, but Birnbaum's work also is made invisible by the sheer scale and grandeur of the event. For me, the dazzle of the preview week prevented real reflection, and it is only upon my return, looking at my many photos, that I can begin to appreciate Birnbaum's curatorial methods.

- Of course, following on immediately after Venice is another major art event (albeit of a different nature) -- Art Basel. The organisers have magnanimously transcribed the talks that have taken place at Art Basel over the years. Browse this archive and see what strikes your fancy. (Coincidentally, the conversation for Art 36 Basel was hosted by Daniel Birnbaum.)

- The credit crunch continues to bite, and Curbed L.A. pronounces that the career path for architecture curators is "looking dodgy", partly on the basis of the recent layoff of L.A. MOCA's architecture and design curator. Personally, I'd hesitate to call it a trend of a scale to make the whole career path 'dodgy', though this individual instance is unfortunate.

- I recently received an email asking about good websites for job hunting. While it's true the best jobs are often the ones that you hear about from friends and colleagues, you couldn't go wrong keeping an eye on Akimbo (Canada-focused), Arts Professional (UK-focused), the Guardian culture section (UK-focused), Museum Jobs (UK-focused), CHIN (Canada-focused), ArtsJobs (US-focused), and the NYFA (US-focused). Of course, I'll continue to post lots of relevant jobs here.

Professionalism and Power

nospam@example.com (Michelle Kasprzak) — Sun, 10 May 2009 05:13:53 -0500

Freelance curators enjoy a degree of flexibility in their work, but are often also in precarious positions when working with large organisations. A clear example of the difficulties faced by curators working in a freelance capacity emerged last week when the Koffler Centre of the Arts in Toronto issued a statement saying they were "disassociating" from artist Reena Katz, that they had commissioned through curator Kim Simon.

According to the statement, the core of the issue for the Koffler Centre, which is an agency of the United Jewish Appeal Foundation of Greater Toronto, is that artist Reena Katz publicly supports activities which reject "... the legitimacy of Israel as a Jewish state and promotes historically inaccurate comparisons between contemporary Israel and apartheid South Africa, in order to delegitimize Israel." The artist and curator dispute this interpretation of Katz's views.

The project has been under development for over a year and its launch is imminent. As the statement from the curator and artist put it, "...twelve days before the scheduled opening of a project involving over seventy participants, we attended the meeting. We were shocked to learn that the Koffler would be dissociating itself from Katz and our project solely on the basis of her political affiliations they said they had discovered on the Internet." That the organisation would choose to 'disassociate' itself at the eleventh hour is already indicative of a lack of professionalism, and the situation becomes even more perplexing once it is further noted that it is Katz's publcly-stated views that are the issue here, not the content of the commissioned project, which in fact uses Jewish culture as its bedrock and inspiration. The fact that Katz's views were uncovered on the web adds a twist to the tale as well (though again this is disputed by the curator and artist, who contend that the Koffler was aware of Katz's political leanings all along). The fact is that with the advent of web 2.0 and push-button web authoring, any artist or curator can make their views known on anything at any time, offering an unprecedented window on the ongoing fluidity of thought and personal opinion. The fact that this is essentially about Katz's personal digital traces underlines how unfortunate this turn of events has been, wherein an art centre would consider anything other than the work its business. The work, in effect, has been delegitimised here, subjugated to an attempt to pin down whether or not this artist's thoughts permit her to be legitimised by an established institution.

What can a freelance curator do in such a situation? Simon has stated that she is "appalled and heartbroken", and rightfully so. Without co-operation, courage, and support from within the organisation that was to present this work, the curator who is external to this structure has few options. Simon is doing all that she can to ensure that the show goes on, but the sudden lack of support from a well-resourced and branded institution is without a doubt an unwelcome and unhelpful development, that also then becomes a public example which might further dissuade curators from working freelance with large institutions (Simon is working freelance in this case, and is also employed as a curator for Gallery TPW).

It appears that the offer to fund the project fully still stands, so that it can still go ahead, which shields the Koffler from accusations of outright censorship and also from possible litigation. This action distills the problem to the core power struggle that freelance curators and independent artists face, because it's rarely ever about the money. Funding can be obtained without the intervention of an outside institution. The Koffler took something away that is far more valuable, and that's their seal of approval. Unfortunately for them, 'disassociation' in this case denies the rights that artists have to their own views, stifles debate on the subject in the Jewish community, and separates itself from what will surely be a wonderful project that celebrates Jewish culture and heritage in a historical district of Toronto.

Links:

Official project website: Each hand as they are called

Toronto Star story: Kensington Market exhibit stirs controversy among Jews

Globe and Mail story: Centre 'disassociates' itself from artist

Update (May 15, 2009):
Reena Katz and Kim Simon have issued a statement indicating that the exhibition will not open as it was scheduled to, due to the loss of the support of one of the project partners, following Koffler's disassociation. Katz and Simon will continue to work toward opening the exhibition at a future point in time. The latest updates are always available on the project website.

Job: Curator of Contemporary Art, Art Gallery of Hamilton

nospam@example.com (Michelle Kasprzak) — Wed, 06 May 2009 18:13:47 -0500

Position: Curator of Contemporary Art, Art Gallery of Hamilton
Supervisor: Chief Curator
Schedule: Full Time

The Art Gallery of Hamilton is seeking a dynamic individual to join its talented programming staff as Curator of Contemporary Art.

Reporting to the Chief Curator, this curatorial position is responsible for the production of contemporary exhibitions at the Gallery from concept to realization including research, planning, organization, set-up coordination and interpretation.

The successful candidate holds an M.A. in Art History or related qualification and has two to five years experience in a public art gallery, preferably in contemporary curatorial work. A history of insightful exhibitions and publications will be an asset.

The Curator of Contemporary Art must demonstrate excellent communications skills -- both written and oral -- and possess excellent research, administrative, supervisory and organizational skills. The successful candidate must be able to take initiative, work well both independently and in a team-oriented environment. This position requires excellent interpersonal skills. The position will require travel and does involve overtime.

Job summary:
To research, interpret and disseminate visual art practices since 1980 in accordance with the AGH policies and procedures.

Duties and Responsibilities:
- Produce and project manage exhibitions and publications, including research, planning, organization, installation and interpretation
- Conduct scholarly research related to the collection towards the production of exhibitions and publications
- Develop the collection of contemporary art by recommending works of art for purchase and donation
- Facilitate communication and build relationships with local, regional and national visual art communities
- Maintain, enhance and initiate contact with artists, art dealers, collectors and colleagues
- Communicate the cultural value of the collection to the public
- Maintain knowledge of local, national and international practices in contemporary art
- Articulate relationships between regional, national and international art practices
- Understand and implement current museum practices and standards
- Maintain knowledge of current scholarly resources and information technology
- Collaborate/coordinate with staff in the production of exhibitions (collections management, conservation, technical services) touring exhibitions, and community gallery projects and meet the needs of other departments in the promotion and dissemination of contemporary art practices (marketing, communications, education)
- Supervise contract designers, editors, guest curators and writers
- Prepare budgets for exhibitions and ensure adherence to approved budgets
- Provide materials as required for sponsorship and grant applications
- Review and present exhibition proposals to the Curatorial department
- Manage correspondence relating to exhibition proposals from artists and galleries
- Coordinate logistics related to exhibitions with AGH staff (Collections and Exhibitions Manager, Preparators, Security) and outside organizations (signage companies, shipping, etc.)
- Manage AGH publications’ ISBN assignation and distribution in Canada

Job Requirements:
- M.A.; (art history or related discipline)
- 2-5 years experience in a public art gallery or in contemporary curatorial work.
- Advanced communications skills (oral and written)
- Demonstrated experience writing about contemporary art
- Basic knowledge of budgeting and funding requirements and agencies
- Must be well organized and teamwork oriented with an ability to work independently and with others (artists, colleagues, volunteers, stakeholders, and the public)
- Must be willing and available to travel internationally
- Written and oral fluency in a second language an asset.

Kindly apply in writing before Monday, June 1, 2009:
Margaret Hayes
Director, Finance & Administration
Art Gallery of Hamilton
123 King Street West
Hamilton, ON L8P 4S8
Fax: 905-577-6940
E-mail: margaret -at- artgalleryofhamilton.com

*The AGH thanks all applicants for their interest; however, only those granted interviews will be contacted.

Job: Curator, McMaster Museum of Art

nospam@example.com (Michelle Kasprzak) — Wed, 06 May 2009 03:05:06 -0500

The McMaster Museum of Art (MMA) is a public, university-affiliated art museum, one amongst 40 such institutions in Canada. The MMA houses one of the best collections in a university-affiliate in Canada. The collection of approximately 8,000 works including pre-modern, modern and contemporary European and Canadian Art, is housed in a facility with museum standard environmental and security controls. The Museum has an active acquisitions program. The Museum has five exhibition galleries which host exhibitions of the Museum's permanent collection; in-house produced exhibitions of contemporary Canadian art; thematic exhibitions in association with research interests across McMaster University's campus; and borrowed exhibitions from sister cultural institutions.

Reporting to the Director/Chief Curator of the MMA, the Curator will contribute to the academic and research interests of the University and the Museum through the production and development of innovative and engaging exhibitions; publications; and acquisitions. The Curator will provide instruction, both formally and informally, to staff, students and visitors. The position's curatorial responsibilities will support the academic mission of McMaster University to encourage lifelong learning, academic innovation and an inclusive community. Of utmost importance is a knowledge of, and commitment to, innovation in museological practice and an interest in developing a relevant practice within the context of a university-affiliate.

In addition to the curatorial component of the position, the Curator is considered part of the University's management team and as such will supervise museum staff, students and volunteers. The Curator will be expected to participate in the various management and leadership programs offered by the University's Centre for Continuing Education.

The successful candidate will possess the following qualifications:

- A Masters level degree or higher in art history, curatorial or museum studies.
- At least 15 years experience working in a cultural institution in a curatorial capacity.
- At least 15 years experience managing/supervising staff.
- A demonstrated knowledge of pre-modern, modern, and contemporary art.
- A demonstrated knowledge of European and Canadian art.
- A demonstrated curatorial reputation as revealed through one's exhibition and publication history.

McMaster University is an equal opportunity employer. Interested applicants should send: 1) an up-to-date CV; along with 2) a statement regarding their curatorial intentions as they pertain to the university-affiliated context, directly to:

McMaster Museum of Art
Attn: Director/Chief Curator
1280 Main Street West, Hamilton, ON, L8S 4L6
Canada

Only those candidates to be interviewed will be contacted.
Deadline for applications is May 29th, 2009.

Pick 'N Mix - May 2009

nospam@example.com (Michelle Kasprzak) — Fri, 01 May 2009 15:06:52 -0500

Welcome to May's Pick 'N Mix:

- An interesting ethical issue is raised by Regina Hackett in her great, new-ish blog, Another Bouncing Ball. In a post entitled "Curators who are loath to credit art dealers", she outlines a few examples wherein collectors were acknowledged, but the dealers who helped to make an artist's career weren't. She asks: "Isn't it time to abandon the illusion that dealers are all about money and curators are all about art?" It's an underdiscussed topic, and I think Hackett is exactly right: the lines between the roles of all participants in the art ecosystem can be a bit fuzzy at times, and certainly the psychological barriers set up between for-profit practice and other areas is less than useful (though that doesn't mean it should escape critical examination).

- In a similar, why-does-this-happen-when-it-makes-no-sense kind of vein (though I apologise for the lack of a direct relation to curating), Jennifer Higgie writes a piece on the recent Turner Prize shortlist for Frieze's blog, noting that once again critics are braying about the "weirdness" of the shortlisted artists' works. Read the article to find out Higgie's hilarious counterpoints to the supposed weirdness of the nominees.

- I quite liked this interview in BOMB Magazine, where a curator is the interviewer, rather than the interviewee. Again -- sorry for the tenuous link, but I think Pedro Reyes is a really interesting artist, and Tatiana Cuevas does a great job interviewing him.

- On a final note, I'm happy that it's Futuresonic Festival time again in Manchester. Festival Director Drew Hemment and Art Programme Manager Dennis Hopkins have curated the main exhibition, and has decided that rather than hold the usual gallery tours conducted by himself or gallery staff, he will have external curators give tours of the exhibition, that will be "honest, open, warts and all". This idea is appealing on so many levels: to see what commentary a fresh pair of eyes will bring, as a solution for how to involve the curatorial community in an exhibition that they didn't take part in formulating, etc. I am delighted to be one of these external invitees and look forward to the experience -- I will report back on how it went here!