|Mellon Postdoctoral Fellowship for Artistic and Scholarly Engagement and Programs|
|Department: Lunder Institute for American Art, Colby College Museum of Art|
Founded in 1813, Colby is one of America’s most selective colleges. Serving only undergraduates, Colby’s rigorous academic program is rooted in deep exploration of ideas and close interaction with world-class faculty scholars. Students pursue intellectual passions, choosing among 58 majors or developing their own. Independent and collaborative research, study abroad, and internships offer robust opportunities to prepare students for postgraduate success. Colby is home to a community of 2,000 dedicated and diverse students from around the globe. Its Maine location provides easy access to world-class research institutions and civic engagement experiences.
In a period of fast-paced progress, Colby is building on its strong foundation while remaining committed to excellence, to supporting students and faculty at the highest levels, and to the College’s deep liberal arts traditions. This new chapter includes the creation of innovative academic initiatives and partnerships, strengthening the connections between the liberal arts and the professional world, revitalizing downtown Waterville, and pursuing significant capital projects for performing arts and athletics. Colby invites applicants to apply for the position of:
MELLON POSTDOCTORAL FELLOWSHIP FOR ARTISTIC AND SCHOLARLY ENGAGEMENT AND PROGRAMS
Lunder Institute for American Art
Mellon Postdoctoral Fellowship for Artistic and Scholarly Engagement and Programs – Search Committee
|For more information and to apply: https://www.colby.edu/administration_cs/humanresources/employment/mellon_postdoc_fellow_12_2018.cfm|
The Yale Center for British Art is a public art museum and research institute that houses the largest collection of British art outside the United Kingdom. The core collection was presented to the university by Paul Mellon (Yale College, Class of 1929). Augmented by acquisitions made since the Center opened in 1977, the collections reflect the development of British art and culture from the late medieval period to the present.
The Center’s actively growing collections include more than 2,000 paintings, 250 sculptures, 20,000 drawings and watercolors, 40,000 prints, and 35,000 rare books and manuscripts. More than 40,000 volumes supporting research in British art and related fields are available in the Center’s Reference library. Works include masterpieces by Joshua Reynolds, George Stubbs, Thomas Gainsborough, J. M. W. Turner, John Constable and the Pre-Raphaelites to Henry Moore, David Hockney, and Yinka Shonibare, as well as major artists from Europe and America who lived and worked in Britain such as Rubens and van Dyck.
One of the Center’s greatest treasures is the building itself. Opened to the public in 1977, the Yale Center for British Art is the last building designed by the internationally acclaimed American architect Louis I. Kahn. The structure integrates the dual functions of study center and gallery, while providing an environment for works of art that is appropriately elegant and dignified. The building underwent a comprehensive, award-winning conservation in 2015-16. The Center stands across the street from Kahn’s first major commission, the Yale University Art Gallery (1953), located in downtown New Haven.
Education, Research, and Publications
The Center offers a year-round schedule of major, international loan exhibitions and programs. Academic resources include the Reference Library and Archives, conservation laboratories, a Study Room for examining works on paper as well as rare books and manuscripts from the collection, and an innovative, open-access, online catalogue of the collections.
The Center oversees an active research program through which it promotes and fosters the scholarship of all aspects of British art and material culture. It is the Center’s aim to support and generate research that is both interdisciplinary in nature and international in scope.
As well as fostering a public outreach program comprising lectures, conferences, tours, school visits, films, concerts, and performances, the Center offers opportunities for scholars at all levels to study its collections and participate in its scholarly programs. The Center offers short-term residential Visiting Scholar Awards at predoctoral and postdoctoral levels; opportunities for students at Yale and elsewhere, including travel grants, research positions, an annual Graduate Student Symposium, and a biennial Graduate Student Summer Seminar.
The Center is also active in publishing research and collaborates with Yale University Press on publications accompanying major exhibitions. Aspects of the Center’s publication program, and much of its research and teaching program, are developed in conjunction with that of its sister institution, the Paul Mellon Centre for Studies in British Art, in London. Together both Center(re)s publish the new online journal British Art Studies.
The Center has retained the executive search firm of Koya Leadership Partners to assist in the search. Please email nominations and applications (resume/CV and cover letter) to Naree W.S. Viner, Managing Director, at firstname.lastname@example.org.
The Director provides overall leadership, strategic vision for, and management of the Yale Center for British Art, including care of the collection, collaboration with university schools and departments, and partnerships with global museums and research centers focused on British Art. This executive is an integral part of the University’s academic leadership, ensuring the continued use and exploration of the Center’s rich collections and applying innovative approaches to teaching, research, and publication. The Director is appointed by the President and reports to the University Provost. The Director works as a team member with other cultural heritage directors at the University, including the Institute for the Preservation for Cultural Heritage at Yale’s West Campus, under the direction of the Deputy Provost for Collections and Scholarly Communication.
The Director will serve on the Board of the Paul Mellon Centre in London and will work closely with its director. As the chief executive officer of the Center, the Director is responsible for overseeing an annual operating budget of $25 million and an endowment of $483 million as of June 2017. The Director leads a staff of 109 full-time employees plus an additional 30 part-time employees including security, and 100 student employees/interns. The Director serves as an articulate and compelling advocate for the Center and the importance of the arts within the University, to prospective donors and collectors, the museum community, and potential collaborators. Along with a broad knowledge of the British and American art worlds, the Director must have the strategic vision to identify new opportunities for the institution, the ability to inspire and empower staff, and a commitment to raising the Center’s visibility within the University, the local and regional community, and around the world.
The Director must be able to work adeptly and collegially with senior administrative leadership, as well as with deans and other academic and administrative leaders. This leader must also be able to work with independent-minded faculty across the institution. The Director must be committed to two-way communication, to fostering trust, and to building community at campus, national, le of leading a dynamic organization, with attention to the skillful and strategic allocation of the Center’s resources in ways that advance the Center’s quality and activities.
Required Education and Experience
An advanced degree in an art-related field is required; a Ph.D. is expected, as is equivalent professional and leadership experience in a comparable setting.
Required Skill/Ability 1:
Demonstrated visionary leadership with an entrepreneurial and enthusiastic spirit; proven strategic thinker with the foresight, capacity, and experience to understand and balance complex and discrete needs; demonstrated capability in providing stability and confidence when faced with important, ambiguous and quickly-changing circumstances.
Required Skill/Ability 2:
A strong advocate for the Center who has the experience and training to represent the Center in the region and in the broader arts world; expertise to curate and develop world-class, compelling exhibitions and publications to expand scholarly and audience engagement.
Required Skill/Ability 3:
Business Acumen and Operational Expertise. Strong record of successful oversight and management of finance and operations.
Required Skill/Ability 4:
Demonstrate a significant academic and scholarly achievements, including publications, in the field of British art and material culture, or a closely related field. Recognized distinction in the field, significant standing with peer institutions, and the stature to represent the Center to appropriate stakeholders.
Required Skill/Ability 5:
Proven record of visible and effective leadership and management, demonstrated ability to professionally develop and retain a strong team focused on impact, excellence and accountability. Demonstrated compelling public presence, and exceptionally skilled at developing and sustaining excellent relationships; excellent public relations insight and public speaking ability.
Weekend Hours Required?
Evening Hours Required?
The intent of this job description is to provide a representative summary of the essential functions that will be required of the position and should not be construed as a declaration of specific duties and responsibilities of the particular position. Employees will be assigned specific job-related duties through their hiring departments.
Affirmative Action Statement:
Yale University considers applicants for employment without regard to, and does not discriminate on the basis of, an individual’s sex, race, color, religion, age, disability, status as a veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Title IX of the Education Amendments of 1972 protects people from sex discrimination in educational programs and activities at institutions that receive federal financial assistance. Questions regarding Title IX may be referred to the University’s Title IX Coordinator, at TitleIX@yale.edu, or to the U.S. Department of Education, Office for Civil Rights, 8th Floor, Five Post Office Square, Boston MA 02109-3921. Telephone: 617.289.0111, Fax: 617.289.0150, TDD: 800.877.8339, or Email: email@example.com.
The Collections Associate supports the increasing levels of curricular activity by a large number of University departments within the Museum. The Collections Associate will help to coordinate and implement the active teaching program within the Museum’s study rooms and galleries. This is a regular, fulltime position.
The Collections Associate reports to the Chief Registrar and Manager of Collections Services. The essence of this position will be to assist engagement with object-based study, in designated study rooms and galleries, as well as through digital tools such as the Museum’s collections management system (TMS) and the Museum web site.
With a collecting history that extends back to 1755, the Princeton University Art Museum is one of the leading university art museums in the country, with collections that have grown to include more than 100,000 works ranging from ancient to contemporary art and spanning the globe. A private institution serving the public good, the Museum is committed to serving the University, local and regional communities, and beyond through a dynamic program of temporary exhibitions, new scholarship, and innovative programming. By collaborating with experts across many disciplines, fostering sustained study of original works of art, and uniting scholarship with broad accessibility, the Museum advances critical thinking and visual literacy at Princeton University and enhances the civic fabric of our nation.
The Museum also serves as a gateway to the University for more than 200,000 visitors from around the world each year. Intimate in scale yet expansive in scope, it offers a respite from the rush of daily life, a revitalizing experience of extraordinary works of art, and an opportunity to delve deeply into the study of art and culture. The Museum is located at the heart of Princeton’s historic campus and is free and open to the public.
To learn more, visit http://artmuseum.princeton.edu
The Collections Associate assists in the organization and overall coordination of class visits; including compiling course checklists in the TMS (The Museum System) database; coordinating lists, expectations and logistics with the Education department, curators, and the relevant faculty; gathering artwork from storage for class, explaining study room guidelines and proctoring classes, and returning artwork to storage when finished. The position is solely responsible for scheduling object movement and tracking location changes. The position is also responsible for coordination of subsequent student visits for research purposes. The position also includes a component related to the recording of data and its subsequent analysis in regard to the statistics surrounding these classes. The Collections Associate may also coordinate visits with outside researchers as necessary.
The position will determine coverage for all precepts in consultation with Mellon Curator of Academic Engagement and the Curator of Academic Programs, as well as Collections Associate, Art Handler, registrar, preparators, and the curatorial staff. The Collections Associate meets weekly with the Curator of Academic Programs and the Collections Associate, Art Handler, to track, plan and schedule all class visits for the semester, and to ensure smooth coordination throughout.
When time permits during the academic year, and during the summer months, the Collections Associate will coordinate scholarly visits to view single objects and major collections.
*BA required; MA in Art History, Museum Studies or related field strongly preferred
*Minimum two years experience working with an art museum collection
*Ability to handle original works of art appropriately
*Familiarity with The Museum System (TMS) collections management software preferred
*Demonstrated interest in museum operations and collections management
*A high degree of organization and self-motivation, including ability to take initiative, anticipate actions needed, and exercise independent judgment
*Excellent interpersonal skills with the ability to communicate with a wide variety of staff, including curators, registrars, educators, preparators, faculty, and students
*Ability to exercise discretion and be a team player in an active office environment
*Well-developed written communication skills and attention to detail will be required
Princeton University is an Equal Opportunity/Affirmative Action Employer and all qualified applicants will receive consideration for employment without regard to age, race, color, religion, sex, sexual orientation, gender identity or expression, national origin, disability status, protected veteran status, or any other characteristic protected by law. EEO IS THE LAW
Standard Weekly Hours
Eligible for Overtime
Essential Services Personnel (see policy for detail)
Physical Capacity Exam Required
Valid Driver’s License Required
Five New Curators:
- Wu Hung and Christine Mehring, who are current professors at the University of Chicago, have been named adjunct curators
- Leslie Wilson has been named the first curatorial fellow for diversity in the arts
- Laura Steward, who currently acts as the university’s curator of public art, will take on that title at the Smart
- Issa Lampe, who currently serves as the director for the museum’s Feitler Center for Academic Inquiry, has also been named the Smart’s deputy director for academic and curatorial affairs. (ArtNews)
Image: COURTESY SMART MUSEUM
NEH has updated the guidelines for their two grant programs: Sustaining Cultural Heritage Collections and Preservation Assistance Grants for Smaller Institutions.
Both programs have a deadline of January 31, 2019.
Sustaining Cultural Heritage Collections
Grants are available for both planning (up to $40,000) and implementation (up to $350,000)
The Sustaining Cultural Heritage Collections (SCHC) program helps cultural institutions meet the complex challenge of preserving large and diverse holdings of humanities materials for future generations by supporting sustainable conservation measures that mitigate deterioration, prolong the useful life of collections, and support institutional resilience: the ability to anticipate and respond to disasters resulting from natural or human activity. Institutions can accomplish this work most effectively through preventive conservation. Preventive conservation encompasses managing relative humidity, temperature, light, and pollutants in collection spaces; providing protective storage enclosures and systems for collections; and safeguarding collections from theft, fire, floods, and other disasters.
Preservation Assistance Grants for Smaller Institutions
**New this year** Awards for up to $10,000
Preservation Assistance Grants help small and mid-sized institutions—such as libraries, museums, historical societies, archival repositories, cultural organizations, town and county records offices, and colleges and universities—improve their ability to preserve and care for their significant humanities collections. These may include special collections of books and journals, archives and manuscripts, prints and photographs, moving images, sound recordings, architectural and cartographic records, decorative and fine art objects, textiles, archaeological and ethnographic artifacts, furniture, historical objects, and digital materials. Applicants must draw on the knowledge of consultants whose preservation skills and experience are related to the types of collections and the nature of the activities on which their projects focus.
The Joyce Foundation has announced the 2019 winners of its Joyce Awards, which are granted to collaborations between artists of color and arts institutions based in the Great Lakes region of the United States.
Tuesday, December 18, 2018, 1:30-3 PM (EST)
You may join through the Skype for Business link below on December 18. Unfortunately, you may not use your regular Skype account to join the Coffee Gathering, since this hosted on the Skype for Business platform.
Art lending programs at university museums can provide an extraordinary experience for students and expand art education beyond the museum. These unique programs have an expansive reach across campus, significantly enhancing the student experience through close looking and thought-provoking conversations.
This month join us for a special extended hour-and-a-half Coffee Gathering with our hosts, Jessica Cloer, Diane Hart, and Ariana Webber, as they discuss different models of student art lending programs at the Rose Art Museum, the Williams College Museum of Art, and the MIT List Visual Arts Center.
Kindly RSVP to Olivia Knauss, RAAMP Project Assistant, at firstname.lastname@example.org.
Diane M. Hart has over thirty years’ experience in Registration. She began her career at the Virginia Museum of Fine Arts and the Yale University Art Gallery before becoming the Senior Museum Registrar for Collections and Exhibitions at the Williams College Museum of Art in 1992. Early in her tenure at Williams she focused on managing an extensive year-round exhibition program and outgoing loans. She is a member of the leadership team at WCMA working to deeply integrate the Museum collections, programs and exhibitions into student and faculty life at Williams. She has a BA in Fine Art from Virginia Tech and a MA in Art History from Virginia Commonwealth University. She has held board positions with the New England Registrars Association and Registrars Committee of the AAM as well as mentored new professionals in the Registration field.
Ariana Webber is the Registrar for Exhibitions at the MIT List Visual Arts Center and manages the Student Lending Art Program. Early in her time at the List, she also managed the permanent collection and the Campus Loan Art Program. Prior to joining the List, Ariana worked at the Yale University Art Gallery where she assisted with the permanent collection, incoming long-term loans, and temporary exhibitions. It was while working at Yale, that Ariana became familiar with the challenges of collecting and exhibiting contemporary art. Ariana has a background in archaeology, with a BA from Boston University and an MA in Bible and Archaeology from the University of Sheffield. She received an MA in Museum Studies from New York University.
Jessica Cloer is the associate registrar for the Rose Art Museum at Brandeis University. For over four years (2014-2018) she was a curricular registrar at the Harvard Art Museums where she managed the Student Print Rental Program. In the fall of 2015, Jessica re-launched the program after a seven-year hiatus. During the planning process, she found it challenging to find information about how to manage a successful art lending program and discovered that other universities were actively seeking information as well. This motivated her to write A Guide to Art Lending Programs for Students in Institutions of Higher Learning for her Museum Studies Master’s Degree capstone project at Harvard and form a panel for the 2018 New England Museum Association Conference. Jessica joined the staff at the Rose Art Museums this past July and is now working with the Student Loan Collection at Brandeis University.
Image: ©Cassandra Rodriguez
At California Lutheran University in Thousand Oaks, CA, the Rolland Gallery of Art partnered with the Chemistry Department to put on “Traces: Revealing Secrets in Art and History.” This exhibit gives Cal Lutheran students and visitors the opportunity to have “an inside look at the methods used by art detectives to reveal the secrets of artworks, ranging from X-rays and infrared light to solvents that remove varnish. Visitors can compare before and after images, try to identify what has been altered in a work and use ultraviolet light to detect changes.”
This exhibition will be the central focus of a new class: “Chemical Investigations of Art” which Katherine Hoffmann, the John Stauffer Professor of Analytical Chemistry, and Robert Dion, an adjunct professor of chemistry, will teach in January. (California Lutheran University)
Image: Half of this oil painting by Richard Wilson has been cleaned.
Three NC State College of Education faculty members recently received research grants from the STEM Education Initiative, a North Carolina State University initiative aimed to enhance and support faculty members who teach and conduct research in the science, technology, engineering and mathematics (STEM) disciplines.
This year, the STEM Education Initiative selected 13 projects to receive more than $100,000 in research funding to enhance the teaching and learning of STEM fields at the university.
One the projects is K.C. Busch’s “Learning STEM in Informal Contexts”. Assistant Professor K.C. Busch will use the STEM Education Initiative support to continue the development of Learning STEM in Informal Contexts; a course offered next semester to engage NC State students in the processes and practices of STEM learning that occurs outside of school. Several community partners for this project are: N.C. Museum of Natural Sciences, N.C. Museum of Art, N.C. Museum of History, the Museum of Life & Science—Durham, the NCSU Libraries, Gregg Museum of Art & Design, the Citizen Science Association, and N.C. State Farmers Market. (NC State University)
MA film student Dalina Perdomo-Álvarez reflects on her experience working as a gallery attendant and researcher at the Stanley Museum of Art and how this experience helped her to secure a positions a a curatorial assistant the Museum of Contemporary Photography in Chicago and as a distribution assistant at Video Data Bank at the School of the Art Institute of Chicago.
The Stanley Museum of art draws in students from a variety of disciplines to work with the collection. “These are experiences you don’t get in a classroom,” says Joyce Tsai, clinical associate professor in the College of Education, a curator at the museum, and a past RAAMP Coffee Gathering Host. “We’re really at the leading edge of thinking very seriously about our role as an art museum within a research university. We want our students to be producers of research and producers of knowledge, and not just a one-way dissemination of it.”
“We’re teaching research skills and critical thinking skills,” Lauren Lessing, director of the Stanley Museum of Art, says. “We’re teaching students how to be part of a team and part of a professional workplace. We’re helping them make connections to the professional art world.” (Iowa Now)
Image: University of Iowa graduate and UI Stanley Museum of Art staff member Lindley Warren and UI MFA student Jacob Jones join Stanley Curator Joyce Tsai in showing Lena Stringari, deputy director and chief conservator of the Solomon R. Guggenheim Foundation, around the museum’s Visual Classroom in the Iowa Memorial Union. UI students who work in the Stanley and with its curators have the opportunity to make valuable connections with the professional art world. Photo by Tim Schoon.