RSVP to our next Coffee Gathering: Differentiating Visual Arts Administration and Museum Studies Programs

On Thursday, February 6 at 2pm (EST) we will be online with Bruce J. Altshuler, Director and Professor of Museum Studies at New York University and Sandra Lang, Director and Professor of Visual Arts Administration at New York University to discuss their respective programs. Joining them will be Visual Arts Administration student Laura Busby and Museum Studies student Olivia Knauss.

Bruce Altshuler is Director of the Program in Museum Studies in the Graduate School of Arts and Science at New York University. He has held positions at the New-York Historical Society, Zabriskie Gallery, Christie’s Education, and as Director of the Isamu Noguchi Garden Museum.  He is the author of The Avant-Garde in Exhibition: New Art in the 20th Century, Isamu Noguchi, Salon to Biennial: Exhibitions that Made Art History, 1863-1959, Biennials and Beyond: Exhibitions that Made Art History, 1962-2002, editor of Collecting the New: Museums and Contemporary Art  and co-editor of Isamu Noguchi: Essays and Conversations.  Altshuler has published extensively and lectured internationally about exhibition and curatorial history, the history of museums, and modern and contemporary art.  He has been a member of the graduate faculty of the Bard Center for Curatorial Studies, and the Board of Directors of the International Association of Art Critics/United States Section (AICA/USA).

Sandra (Sandy) Lang is the Program Director of the M.A. in Visual Arts Administration and Clinical Associate Professor. A leading expert in the history of corporate collecting in the United States, Sandy was the longtime Director of The Museum of Modern Art’s Art Advisory Service, advising corporations on acquisitions and maintaining an extensive network of CEOs, senior officials, and art curators from many institutions. Sandy is also a past Executive Director of Independent Curators International (ICI) and of the International Fine Print Dealers Association (IFPDA). A tireless teacher and mentor to NYU’s vibrant student and alumni bodies, Sandy speaks widely on curatorial practice, creative placemaking, and pedagogy in arts administration. She has also served previously as board member of the Association of Arts Administration Educators (AAAE) and as past president of both ArtTable and the Association of Professional Art Advisors (APAA).

Laura Busby (b. Winnipeg, Canada) currently resides in Brooklyn, New York where she is pursuing her master’s degree in Visual Arts Administration at New York University Steinhardt. She has diverse experience interning with art non-profits, including the College Art Association, the Whitney Museum of American Art in the chief curator’s office and will be joining Creative Time in the spring. During her studies, and following her graduation in 2012 from the University of British Columbia in Canada with a Bachelor of Arts in Art History, Visual Art & Theory, she worked as an educator and arts administrator at the Vanco uver Art Gallery for nearly seven years.

Olivia Knauss is a second-year master’s student in NYU’s Museum Studies Program with an interest in development and fundraising. Since starting her program in 2018, Knauss has interned in various development departments including the Tenement Museum, the Met, and, in the spring of 2020, the External Affairs Department at the MoMA. In addition to her museum work, she has also worked as CAA’s RAAMP Program Assistant. Before moving to New York City, Olivia worked at the Buffalo Center for Arts and Technology as a grant writer and Phillips Exeter Academy’s Lamont Gallery as a Collections Assistant & Archives Coordinator. She received her B.A. in Art & Art History from Rhodes College in Memphis, TN and is originally from Buffalo, NY.

To RSVP to this Coffee Gathering, please email Cali Buckley at

Our Coffee Gatherings are hosted on Skype for Business. All participants who have RSVP’d will receive via email a link in advance to attend the session. Once you receive the link, you may join the conversation to test the Skype for Business application. Please use this same link when you are ready to join the scheduled date and time for the Coffee Gathering.

Please note the Coffee Gatherings are recorded and uploaded for future viewing.

We kindly request that you turn off your microphone during the conversation; however, you may keep your camera on if you wish.

My Gallery is Bigger Than Your Gallery | Recording and Resources


On Thursday, November 21 at 2 pm (EST), Michael Dickins presented on the campus plan he has devised for the New Gallery at Austin Peay University.

Faced with limited storage space on campus, Dickins started a program (with strict parameters) to share the permanent collection with the campus community, while also creating an educational opportunity for Austin Peay students. With the permanent collection at their disposal, Dickin’s undergraduate student workers curate exhibitions to hang in department spaces.

For each exhibition, students write a curatorial statement, labels, and record an audio guide segment for each work that visitors can access through the app, Guide-by-Cell.

In his presentation, Dickins shares images of the finished exhibitions, and, as an open book, shares his trials, tribulations, and successes he encountered while running this campus plan program.

Benefits of this program, according to Michael Dickins:

  • Gets artwork into public sphere instead of hidden in storage (which ours is not large enough to house our collection)
  • Allows for academic buildings to look less ‘institutional’
  • Artwork only goes in spaces accessible to the public (NOT offices) – as it is a collection at a public university and needs to be accessible to the public.
  • Artwork gets installed on OUR schedule as myself and assistants have other duties.
  • Gives students experience in curating, installing, labeling, cataloguing in database, art handling, etc. – plus writing a curatorial statement.
  • This informs the occupants of said space that this is a teaching/education opportunity and not just decorating.

Future Events

Michael Dickins will be presenting at CAA’s Annual Conference on Wednesday, February 12: Is that Unprofessional? When Artists Curate, alongside our September Coffee Gathering host, Meredith Lynn.

Articles and Documents

Austin Peay Students Discover Work from Two Major Artists in University’s Collection

The New Gallery Collections Management Policy

Download (PDF, Unknown)

Museum Diversity Fellow – Museum Education, Reynolda House Museum of American Art

Summary: The 2020–2021 Reynolda House Museum Diversity Fellowship is a year-long position in the education department at Reynolda House Museum of American Art. This fellowship is a part of the Diversifying Art Museum Leadership Initiative (DAMLI). DAMLI, funded by the Ford Foundation and Walton Family Foundation, seeks to provide professional art museum experience and mentorship to individuals from diverse backgrounds, especially those underrepresented in the museum field. The grant is designed to diversify leadership in art museums; the Fellowship will assist in this goal by providing foundational, entry-level museum experience to recent college graduates.

The Museum will give preference to applicants who express how their background, interests, and professional goals will add to the diversity of Reynolda House and to the work of art museums. Reynolda House does not seek to define or limit what constitutes diversity.

Essential Functions:

  • Schedule, plan, and facilitate tours and art experiences for self-contained, exceptional children’s classes.

  • Lead tours of the historic house, art collection, and temporary exhibitions for diverse audiences including K-12 school groups, visitors with special needs, senior citizens and the general public.

  • Plan and facilitate monthly family studio art workshops for 1st – 6th graders and accompanying adults.

  • Give public talks on objects in the collection.

  • Assist with other educational programming and trainings.

  • Participate in evaluation of the Museum Diversity Fellowship.

  • Represent the museum as a recipient of the Walton-Ford Diversifying Art Museum Leadership Initiative fellowship.

  • Handle registrations for programs.

  • Potentially drive college interns on field trips.

Required Education, Knowledge, Skills, Abilities:

  • Applicants must have graduated with a bachelor’s degree in relevant field (e.g. studio art, art history, education, cultural studies, etc.) within the last five years.
  • Ability to work flexible schedule to include evening and weekend hours

  • Strong interest and experience in art making, object-based teaching, and facilitating learning experiences

  • Strong interest in and experience working with children (formal or informal)

  • Sensitivity to the needs and learning styles of individual visitors, with a helpful disposition for interacting with the public

  • Ability to work as a team member and independently on multiple and diverse tasks

  • Ability to appropriately interpret policy and procedures established within the museum

Physical Requirements:

  • Medium physical work.
  • Balancing, stooping, reaching, standing, walking, lifting, grasping, fingering, talking and hearing.
  • Activities occur primarily inside but also outside.

Supervisory Responsibility:

Models instruction for special needs and older adult tours. Provides training, work direction and problem solving for semester college interns, serving as a peer mentor.  Instructs adult volunteers in assignment of duties. Teaches studio art classes for children and adults.

Funding for the position is provided through the Diversifying Art Museum Leadership Initiative. The Walton Family Foundation and Ford Foundation have committed $6 million ($3 million each) over three years, starting in 2018, to support a limited number of U.S. art museums that are developing strategies and programs to diversify leadership in curatorial and museum management.

About Reynolda:

Reynolda, in Winston-Salem, N.C., is a rare gem among the nation’s cultural institutions and historic greenspaces that features a 50-year old American art museum at its center, Reynolda House Museum of American Art. The museum presents a renowned art collection in a historic and incomparable setting: the original 1917 interiors of the country manor of R. J. Reynolds. Spanning 250 years, the collection is an uncompromisingly selective one, a chronology of American art, with each artist represented by one work of major significance. The collection was assembled by the unerring eye of Barbara Babcock Millhouse, granddaughter of R. J. and Katharine Reynolds. The Reynolda estate includes 129 acres of formal gardens and trails, and boutique shopping and dining in more than 25 conserved, historic buildings. A new app available for free download, Reynolda Revealed, shares the stories of Reynolda both inside and out. Reynolda delivers experiences that enlighten the mind and revive the senses, and we prioritize creating an environment where people thrive.

Additional information on the DAMLI initiative: 

Hiring Manager and contact: Julia Hood, Manager of School and Family Learning, 336-758-5599,

Apply through: Job postings at Wake Forest University,

Application Deadline: January 15, 2020

Start Date: July 1, 2020

Salary: $40,000 annually

Benefits: Medical insurance, tuition for a certificate program (Business Essentials for Nonprofit Certificate), computer, and work space.

Required for application:

Cover letter (1-2 pages as PDF), to include:

  • Why you are interested in this position and how your past experience (formal or informal) prepares you for this role
  • How this position would help prepare you for future career goals and how you anticipate this position would help you grow and develop as an arts educator/museum professional
  • As stated above, this position is funded through a grant seeking to increase diversity from underrepresented groups in positions of leadership in museums.  Please address the ways in which you embody diversity and how you see yourself being a leader (both diversity and leadership being broadly defined).
  • Resume or C.V. (as PDF)

Additional Job Description

Time Type Requirement

Full time

Note to Applicant:

This position profile identifies the key responsibilities and expectations for performance. It cannot encompass all specific job tasks that an employee may be required to perform. Employees are required to follow any other job-related instructions and perform job-related duties as may be reasonably assigned by his/her supervisor.

In order to provide a safe and productive learning and living community, Wake Forest University conducts background investigations and drug screens for all final staff candidates being considered for employment.

Wake Forest seeks to recruit and retain a diverse workforce while promoting an inclusive work environment committed to excellence in the spirit of Pro Humanitate. In adherence with applicable laws and as provided by University policies, the University prohibits discrimination in its employment practices on the basis of race, color, religion, national origin, sex, age, sexual orientation, gender identity and expression, genetic information, disability and veteran status and encourages qualified candidates across all group demographics to apply. 

To apply:–Museum-Education–Reynolda-House-Museum-of-American-Art_R0002229

Asheville Art Museum and UNC Asheville Partner to Launch New Museum Membership Initiatives

Resulting from a new partnership between Asheville Art Museum and UNC Asheville, all degree-seeking students at UNC will receive a free student membership to the museum.

“The visual arts are essential to a well-rounded liberal arts education, and interaction with the arts leads to the development of creative thinking skills that are necessary for success in today’s society,” said Asheville Art Museum Executive Director Pamela L. Myers. “The Museum is a unique resource in the region providing opportunities for learning, engagement and inspiration. Offering all UNC Asheville students easy access to important original works of American art of the 20th and 21st centuries will be an invaluable educational resource and build a vibrant relationship between the students and their community art museum, which will hopefully engender lifelong relationships with museums.” [Mountain Xpress]

University of Chicago Students Make Acquisition for Smart Museum

With the input of ten undergraduate and graduate students from the University of Chicago, the Smart Museum of Art acquired several three new works of art from Viennacontemporary, Austria’s largest art fair. The fair founder, Dmitry Aksenov, invited the Smart Museum of Art to bring a group of students to choose works from the fair to add to the museum’s permanent collection.

Gearing up to the trip, the students read and discussed scholarship about the art market and fairs with Smart Museum staff members. They also researched the Smart’s collection. Art history graduate student Maggie Hire said that they were “especially interested in considering the ways in which a work of art would dialogue with other artworks from the collection and how that dialogue might promote learning moments.” [The Chicago Maroon]


Museum Career Insights at the Met for Undergraduate and Graduate Students – November 15, 2019

On Friday, November 15 from 6:30 – 8:30 pm, the Met will host a Career Insights workshop to those interested in learning more about working in a museum. Participants will talk to staff members and current interns. This event is open to all currently enrolled undergraduate and graduate students. Museum admission is free with your Eventbrite registration.

For more information:

To register:

Two-Year Curatorial Museum Fellow – Museum of Modern Art & the Studio Museum

About the Fellowship

The Studio Museum in Harlem and The Museum of Modern Art are accepting applications for one additional fellow position in their third Museum Fellowship Two-Year Curatorial Museum Fellow Collaboration. The fellow will spend nine months at MoMA and one year at the Studio Museum.

The museum fellows, under the direction of a curatorial department, will work independently and collaboratively with museum staff to gain in-depth experience through practical learning opportunities. This joint fellowship will develop the next generation of museum professionals, and will offer insight into the daily workings of a museum through hands-on work, workshops, professional development, and contribution to academic discourse within each institution. The fellows will contemplate the role of museums in contemporary society through the exploration of the mission and collections of these partner institutions.

The curatorial fellow will participate in the essential activities of a curatorial department, which may include assisting the staff in the following areas: collection management, archives, acquisitions, loans, exhibition research, catalogue production, and administration. Under the guidance of the curatorial and administrative staff, the fellow may also assist in the logistics, research, planning, and organization of activities and programming generated in their assigned department, in addition to various research and administrative aspects designed to foster future involvement in the field of art history and curatorial endeavors.

This fellow would be placed at The Museum of Modern Art in their first year, working with the Department of Media and Performance. At The Studio Museum in Harlem the fellow will be assigned to work on exhibitions or permanent collection.

The ideal candidate will be willing to embrace the full scope of tasks relevant to curatorial work, from photocopying to primary research on artists. They should be prepared to be an active collaborator with a wide range of staff across the museum, and comfortable working in a professional office environment. Candidate should provide essential research for histories of early 20th-century music and performance.


The Museum Fellowship is a paid, two-year employment opportunity for individuals in the early stages of their career. The ideal museum fellow will have a baccalaureate or graduate-level degree, with a concentration in art history, curatorial studies, Africana studies, dance studies, comparative literature, film, visual culture, or a related field. Archival research skills and experience highly preferred.

Previous involvement within an arts community or arts institution and a desire to work in a museum are also important. Candidates for the Museum Fellowship will be reviewed through a competitive, open process.

Excellent research and written communication skills are required, along with the ability to function in a fast-paced environment within a team. Applicants must be able to manage multiple projects at once with keen attention to detail, adaptability, and a positive attitude.

Applicants must be members of historically underrepresented groups in the curatorial and museum profession; have a demonstrated interest in curating, programming, writing, and research; and possess knowledge of the contemporary art world.

The Museum Fellowship includes health benefits, three weeks paid vacation per year, and an additional $2,000 to cover travel expenses for an approved research trip related to the fellow’s field of interest.

Application Process

As part of the application process, you must include:

  1. A cover letter specifying your interest in either curatorial or public programs, highlighting a particular area of professional or scholarly interest
  2. Your résumé
  3. A writing sample of no more than five pages

Application deadline: November 11, 2019

(Please note: All supporting materials must be received by this date)

Fellowship begins: Mid-December 2019

Fellowship ends: September 3, 2021

The Museum of Modern Art is an equal opportunity employer and considers all candidates for employment regardless of race, color, sex, age, national origin, creed, disability, marital status, sexual orientation or political affiliation.


ArtTable: 2019 Career Roundtable in New York City

ArtTable has been organizing Career Roundtables since 2009 providing emerging professionals with the opportunity to connect with women working in the visual arts. The events are geared towards New York City-based graduate students and emerging professionals involved in or studying arts administration, art business, museum studies, art history, curatorial studies, and arts internships.

The next is scheduled for November 15 @ 9:00 am – 12:00 pm at the John E. Reeves Great Hall, FIT.

To register:

Margaret Powell Curatorial Fellow – Carnegie Museum of Art

Margaret Powell Curatorial Fellow

Carnegie Museum of Art, Pittsburgh, Pennsylvania, United States of America Req #298

 Posted Monday, October 7, 2019

Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another. We believe creativity is a defining human characteristic to which everyone should have access. CMOA collects, preserves, and presents artworks from around the world to inspire, sustain, and provoke discussion, and to engage and reflect multiple audiences.

Carnegie Museum of Art is arguably the first museum of contemporary art in the United States, collecting the “Old Masters of tomorrow” since the inception of the Carnegie International in 1896. Today, the museum is one of the most dynamic major art institutions in America. Our collection of more than 30,000 objects features a broad spectrum of visual arts, including painting and sculpture; prints and drawings; photographs; architectural casts, renderings, and models; decorative arts and design; and film, video, and digital imagery. Through our programming, exhibitions, and publications, we frequently explore the role of art and artists in confronting key social issues of our time, combining and juxtaposing local and global perspectives.  With our unique history and resources, we strive to become a leader in defining the role of art museums for the 21st century.

Carnegie Museums of Pittsburgh is interested in candidates who, through their experience and collaborations, will contribute to diversity and excellence of the Carnegie Museums community.

The Margaret Powell Curatorial Fellowship at Carnegie Museum of Art (CMOA) aims to diversify the museum field and expand career pathways by introducing recent college graduates from historically underrepresented groups to a full spectrum of curatorial experiences at the museum. The Fellow will have the opportunity to be immersed in curatorial work and content areas, including Architecture, Decorative Arts & Design, Fine Arts, Modern & Contemporary Art, and/or Photography, depending on curatorial priorities and projects. The Fellow will interact with multiple museum departments, such as Collections, Development, Education, Exhibitions, Marketing, and Publications.

Examples of project assignments include, but are not limited to:
 – Participate in exhibition development at the museum
– Conduct research and writing on exhibitions or the collection
– Assist with gallery ambassador and docent training on the collection and temporary exhibitions
– Facilitate public-facing tours or art chats with visitors


The Margaret Powell Curatorial Fellowship at CMOA is intended specifically for recent undergraduates who demonstrate a passion for the arts and a strong inclination to pursue professional curatorial work in a museum setting. The two-year position is open to candidates from historically underrepresented groups in the museum field including, but not limited to, members of racial and/or ethnic minorities, those who are differently-abled, or individuals from disadvantaged socioeconomic backgrounds. Candidates who have earned a baccalaureate degree within the past two years, preferably with a concentration in art, art history, visual culture or a museum-related field, may apply. In addition to having a strong academic record, candidates should be able to demonstrate the ability to manage multiple projects at once, with attention to detail, adaptability, professionalism, and excellent communication skills. Proficiency in Microsoft Office programs, including Word, Excel, Access, Outlook, and PowerPoint, as well as with Internet-based research is expected, as is gaining familiarity with KE Emu, CMOA’s collection management system.

Starting in early 2020, the Fellowship is a paid, 24-month long commitment requiring 37.5 hours per week in the office. The Fellow will be compensated commensurate with salary at the CMOA Curatorial Assistant level, including benefits and professional development opportunities. The Fellowship is made possible through the generous support of the Arts, Equity, & Education Fund in Pittsburgh, PA.


Please submit he following materials:
1)  Resume/CV – Upload within your Candidate Profile/Application

2)  References – Include within your Candidate Profile/Application.  Please provide at least two academic/professional references and contact information.

3)  Cover Letter, to address the following:
– What interests you about the Margaret Powell Curatorial Fellowship, and why are you
a good fit for the role?
– What are your professional and/or scholarly goals, and how will your experience at
Carnegie Museum of Art help you achieve them?
– Share an example of a time you brought a unique perspective to a project and/or discussion and describe the impact you had.
4)  Official Transcripts – Please provide official transcripts for your entire undergraduate career.

The Cover Letter and Transcripts should be submitted via email to – with the subject line – Margaret Powell Curatorial Fellowship

About Margaret Powell
Margaret Powell (1975–2019) joined Carnegie Museum of Art in 2016 as the Curatorial Assistant in the Decorative Arts & Design department. A textile specialist, her Master’s thesis at the Smithsonian / Corcoran College of Art and Design uncovered the remarkable life story of African American fashion designer Ann Lowe—the granddaughter of an enslaved Alabama seamstress—who designed Jackie Kennedy’s wedding dress and operated her own salon on New York’s Madison Avenue. Margaret’s research led to multiple forthcoming projects on Ann Lowe, including a children’s book (Chronicle); a television biopic (Lifetime Channel), and the definitive biography (Simon & Schuster).

The following PA Act 153 clearances, or proof of application of clearances, are required beginning employment and as a condition of continued employment:

  • Pennsylvania Child Abuse History Clearance
  • Pennsylvania State Police Criminal Record Check
  • FBI Fingerprint Criminal Background Check

Obtaining the required clearances is completed as part of the new hire process.

Carnegie Museums is an Equal Opportunity-Affirmative Action Employer – Minorities / Females / Veterans / Individuals with Disabilities / Sexual Orientation / Gender Identity

The above job description reflects the essential functions and qualifications for the position identified, and shall not be construed as a detailed description of all the work requirements that may be inherent in the position. The job description does not constitute an employment contract and does not alter the at-will relationship between CMP and the employee.

The Americans with Disabilities Act (“ADA”) requires employers to consider and accommodate qualified individuals with disabilities.  An individual is qualified if he or she can perform the essential functions of a job with or without reasonable accommodation. An essential job function is any task that is a fundamental part of the job.  When considering essentiality, one must focus upon whether the function is essential to this particular job and not to the department as a whole. Some additional guidance on essential functions follows below.  Please note that the following guidelines are non-exhaustive.  If you have any questions or need additional guidance, please contact Human Resources.

  1. Is the function required to be performed on a regular basis? If the function is rarely performed, it may not be essential.
  2. Is the function highly specialized? Is the incumbent hired for his/her expertise or ability to perform the function?  The need for special expertise is an indication of an essential function.
  3. Does the position exist, at least in part, to perform the function?  If so, the function is more likely to be essential.
  4. How much time is spent performing the function and how often?  Note that even functions performed 10% of the time could be essential if they are required on a regular basis.
  5. Would elimination of the function fundamentally alter the job?  If so, the function is more likely to be essential.
  6. What are the consequences of not requiring the incumbent to perform the function? If they are significant, the function is more likely to be essential.
  7. Are there a limited number of employees among whom the performance of the function could be distributed if the incumbent could not perform it?  If so, it is more likely to be essential.

To apply:

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