Call for Papers: Inside the Exhibition (Rome, 16-17 Jun 20)

Rome, Swiss Institute and Istituto Nazionale di Archeologia e Storia dell’Arte (Palazzo Venezia), June 16 – 17, 2020
Deadline: Apr 19, 2020

‘Inside the exhibition’: temporalità, dispositivo e narrazione

Now more than ever, temporary art exhibitions saturate museum spaces worldwide, shaping the discourse between public institutions and academia, and implicating an ever-growing and ever-changing international audience. The eighth doctoral study day organised by RAHN intends to reflect on the research opportunities afforded by the temporary display of artworks, from the Early Modern period to present day (15th-21st century).

For the full call for papers, see


Networked Curator: Digital Literacy Workshop for Art Curators

AAMC Foundation’s Networked Curator is a professional development initiative for nonprofit art curators that advance overall digital skills and vocabulary, enables them to better understand the resources and possibilities of the sector, and empowers them to collaborate and actively participate in related initiatives. Applicants are required to have a minimum of at least 5–7 years of direct curatorial experience, as well as moderate experience with, dedicated commitment to and interest in responsibility for digital projects. Each application will require submission of an individual curatorial project which they will work to integrate program learning into during the course, this project can be a temporary exhibition, permanent collection, publication or other organizational based related. Up to 15 participants will be selected through an application process for this career advancement experience.

Fellows selected to the 2020 program will:
–conduct introductory pre-program virtual meetings;
–engage in pre-program learning;
–participate in an immersive three-day program with a peer cohort held in Miami, Florida;
–augment their technological capacity by advancing an individual curatorial project which they bring to the workshop and reflect on throughout the program;
–and expand their knowledge, network, and perspective by contributing at the Museum Computer Network’s annual conference in Baltimore, MD.

All participants are provided funding to accommodate their attendance at these events, in addition to other benefits that are outlined below in greater detail.

Program components

(1) Introductions & pre-program learning
At the start of the Program, participants will participate in an introductory video meeting to share their goals and ambitions with their colleagues, funders, facilitators, and speakers for the program. Additionally, participants will be responsible for reviewing reading materials and completing 4–5 assignments over the course of April–June.

(2) Invitation to exclusive AAMC Foundation program alumni reception at the Art Curators Conference in 2020 and 2021

(3) Miami residency
A three-day intensive residency hosted in Miami, Florida from July 29–31, 2020 at the JW Marriott Marquis Hotel will serve as the foundation for the Networked Curator program experience, leveraging Miami’s arts community as a catalyst for learning and development. It is designed to bring together leading voices in digital to help participants visualize collaborative relationships, explore partnered project development methods, and walk through realized objectives. In addition, a closing evening event on the final day will provide additional opportunities for networking and learning.

(4) MCN conference
The program stipend is also expected to cover travel and registration to attend the Museum Computer Network (MCN) conference that will take place in Baltimore, MD on November 10–13, 2020. Attendance is required as awardees will be paired with a MCN leader to advance project development and participate in an AAMC Foundation organized program.

(5) Reporting and follow-up
All participants will give a final presentation via a virtual convening in January 2021. They will also be required to complete a Program final report and program evaluation survey. Follow-up and commitments beyond the Program would continue through opportunities for alumni communications, such as invitations to AAMC Foundation Annual Program Alumni Receptions.

Eligibility requirements

Find all eligibility requirements and more information on our website.

The final deadline for submitting an application is 12pm ET on Tuesday, February 25, 2020. An incomplete or late submission will result in the application not being reviewed by the jurors. There are no exceptions.

For more information, see:


Conference – Curating the Contemporary Art Museum

Where: SMK – National Gallery of Denmark and the University of Copenhagen, Copenhagen.
When: March 12th and 13th 2020

The aim of this conference is to investigate the museum of art as a place, where the contemporary is staged – in exhibitions, collecting practices, communication, and policies. The idea of the art museum has undergone radical changes after 1945, expressed in a whole array of new ways to stage its space, curate its exhibitions, and interact with its audiences. These developments generally orient the museum and its practices towards the contemporary in all its plural meanings. Speakers include Beatrice von Bismarck, Jonas Ekeberg and Kim West. The Conference is part of the research project “Curating the Contemporary”.

For more information please see:

2020 Summer Institute for Technical Studies in Art (SITSA)

Harvard Art Museums, Cambridge, MA, June 8 – 19, 2020
Deadline: Mar 1, 2020

2020 Summer Institute for Technical Studies in Art (SITSA)
Topic: Replication

SITSA aims to introduce participants to the interdisciplinary approach that is core to the technical study of art and to build relationships that increase collaboration, enrich research, and enhance scholarship across the field of art history. It is an intensive two-week workshop for Ph.D. candidates in art history with diverse backgrounds and research interests. It is designed for emerging scholars and museum professionals who believe that their thinking will benefit from more experience with object-based and art-technical investigations. Participants will engage with conservators, conservation scientists, curators, art historians, artists, and other makers in close looking, art making, and the scientific investigation of objects from the museums’ collections. This year’s Institute will focus on the topic of Replication.

The course is generously funded by the Andrew W. Mellon Foundation, which allows the Harvard Art Museums to provide each participant with housing and a stipend of $1,500 to help cover round-trip travel costs, food, and incidental expenses for the duration of the program.

Further details on the program and information about the application process (application deadline March 1, 2020) and the content are accessible at

Reference / Quellennachweis:
ANN: Summer Institute for Technical Studies in Art (Cambridge, 8-19 Jun 20). In:, Feb 5, 2020. <>.

SEM: Collecting and Display: Collecting and Provenance: A Multidisciplinary Approach (9 March 2020, London)



6.00pm in Room 304

Monday, 9th March

Jane Milosch Smithsonian Institution, Washington DC and Nick Pearce, University of Glasgow

Collecting and Provenance: A Multidisciplinary Approach

Provenance – tracking the origin, ownership, transfer, and movement of objects – has become somewhat more visible in recent years, spurred on by the restitution of Nazi spoliated artworks and lately human remains and cultural heritage translocated during the colonial era. But rich provenance data is relevant within a wider a range of contexts and for a plurality of audiences where there is a desire to connect with objects, histories, cultures and associated people of all kinds. Through the work of the Smithsonian Provenance Research Initiative Jane Milosch and Nick Pearce have been engaging with provenance from this broad range of perspectives which has resulted in a new book: Collecting and Provenance: A Multidisciplinary Approach, the aim of which is to present provenance as an integral part of collecting history, illuminating the social, economic, and historic contexts in which objects were created and collected. They argue that provenance relates to the history of people as well as objects and its study can reveal an often-intricate network of relationships, patterns of activity, and motivations across a range of disciplinary perspectives.

Nick Pearce holds the Richmond Chair of Fine Art at the University of Glasgow, where he specializes in the arts of China. He joined the University of Glasgow in 1998 where he has held the positions of Head of History of Art and Head of the School of Culture and Creative Arts and is currently a Smithsonian Research Associate. His research interests include photographers and photography in late nineteenth-century China and aspects of the collecting of Chinese art in the West during the eighteenth, nineteenth, and early twentieth centuries.  His most recent publications include: “From the Summer Palace 1860: Provenance and Politics,” in L. Tythacott (ed.), Collecting and Displaying China’s “Summer Palace” in the West: The Yuanmingyuan in Britain and France (2018).

Jane C. Milosch, Director of the Provenance Research Exchange Program (PREP) at the Smithsonian Institution, is the founder and former director of the Smithsonian Provenance Research Initiative, where she oversaw WWII–era provenance research projects and advised on international cultural heritage projects, provenance, and training programmes. In 2014, Milosch was appointed the US representative to Germany’s International “Schwabing Art Trove” Task Force Advisory Group. Milosch is currently an honorary professor in the School of Culture and Creative Arts, University of Glasgow.

More information can be found here:


Postgraduate Programme in Curating CAS / MAS curatorial talks summer 2020

Zurich University of the Arts (ZHdK)
Pfingstweidstrasse 96
8005 Zürich

In cooperation with the publication platform and PhD in Practice in Curating, Practice-Based Doctoral Programme, University of Reading in cooperation with the ZhdK

February 21, 2020, 6pm
ZHdK, Room 6.K04
Yvette Mutumba
Contemporary And (C&)

February 28, 2020, 6pm
ZHdK, Room 4.T06
Helena Reckitt
Curator and researcher, Goldsmith University London

March 6, 2020, 6pm
OnCurating Project Space (Ausstellungsstrassse 16, Zurich)
Sabine Himmelsbach
Director, House of Electronic Arts Basel

March 13, 2020, 6pm
OnCurating Project Space (Ausstellungsstrassse 16, Zurich)
Daniel Morgenthaler
Curator, Helmhaus Zurich

March 20, 2020, 6pm
OnCurating Project Space (Ausstellungsstrassse 16, Zurich)
Yasemin Keskintepe
Deutsches Hygiene-Museum Dresden

March 27, 2020, 6pm
OnCurating Project Space (Ausstellungsstrassse 16, Zurich)
Nina Roehrs
Roehrs & Boetsch Gallery, Zurich

April 3, 2020, 6pm
ZHdK, Room 6.K04
Viktor Neumann
Independent curator

April 17, 2020, 6pm
ZHdK, Room 4.T33
Martin Guinard
Curator, ZKM

April 24, 2020, 6pm
ZHdK, Room 6.K04
Damian Jurt
Curator, Bündner Kunstmuseum Chur

May 8, 2020, 6pm
ZHdK, Room 6.K04
Nadine Wietlisbach
Director, Fotomuseum Winterthur

May 15, 2020, 6pm
ZHdK, Room 2.A05
Katja Kobolt
Curator, Red Min(e)d

June 5, 2020, 2pm
ZHdK, Room 5.K01
Sergio Edelsztein
Curator, founder of the Center for Contemporary Art, Tel Aviv

All talks held in English.

Postgraduate Programme in Curating CAS / MAS
Offered by Centre for Continuing Education
The International, English speaking programme at the ZHdK

–Distance Learning opportunity
–MAS with 90 ECTS
–Possibility to advance to the PhD Programme in Practice in Curating

Info event: March 26, 2020, 6pm

The Postgraduate Programme in Curating (CAS / MAS Curating) is an international, English speaking, postgraduate part-time programme founded in 2005. It is conceived of as a discursive platform which imparts key areas of contemporary exhibition-making, knowledge production and curating by praxis-oriented project work. We understand curating as an activity and as an agency, as an interdisciplinary work process.

Critical reading, discussing and an excessive network! Our alumni are working worldwide. Since 2017 we offer distance learning opportunities. With instruction modules, group activities, seminars and lectures held by an international selection of guest lecturers, various fields.

The Programme focuses less on the ‘genius concept’ of the exhibition planner as individual author—a highly controversial topic since the 1990s—than on cooperative, interdisciplinary working methods, as employed, for example, in film productions or non-government organizations. Exhibition-making / knowledge production / curating means the creation of innovative structures for the presentation of cultural artefacts, discourse and knowledge through interdisciplinary collaboration. In this field art, digital media, design, and architecture intermesh in new ways.

For inquiries please contact:,

Above: Henk Slager, 2019. Courtesy OnCurating Project Space.

CFP: Museum Networks and Museum History (London, 16-17 July 2020)

Royal Botanic Gardens, Kew, London, July 16 – 17, 2020
Deadline: Mar 6, 2020

Networks have become an increasingly important part of the analytical toolkit used by historians of museums and collections. As scholars have moved away from narrative institutional histories, they have embraced the study of social and material networks as approaches which expand understandings of museums. In Chris Gosden and Frances Larson’s words, museums can then be seen as ‘innumerable sets of connections between people and objects …[which] extend over time and through space’. Such approaches have themselves been fuelled by the growth of similar ideas such as Actor Network Theory and object biographies.

These new approaches have been especially useful in recovering forms of agency beyond those of powerful institutional actors, especially curators, and have highlighted the contributions of, for example, object creators and mediators, informants and collecting assistants, as well as, sometimes, of objects themselves. They have drawn attention to the formation of new social identities and forms of expertise; have shown the extent of material flows around the world in relation to museums; revealed the role of affect and the relational in museum history; and encouraged closer attention to the different physical properties of things. There have, though, been some differences of emphasis on whether networks in museum history are a useful metaphor, a set of statistical analyses, or a theoretical model.

This conference seeks to take critical stock of the role of networks in understanding the history of museums and collections. It welcomes proposals which use networks of various sorts as tools of analysis, or which engage with the methodological/theoretical issues raised by networks and/or the rejection of network approaches. It is keen to see proposals which interrogate approaches from other disciplines. Contributions may respond to (but are not limited to):

– Networks of museum donors and makers
– Networks and empire; networks and power
– Professional networks and modern identities
– Global and transnational networks
– Networks and the role of indigenous knowledge
– Affect and the role of materiality
– Actor Network Theory and museum/collection history
– Networks of museums, collections, people, objects
– Museum practice and museum networks
– The limits of networks as analytical tools

Plenary contributors to be confirmed.

Submissions may be for individual papers, panels of 3 papers, or posters.

Paper proposals should be for papers of 20 minutes’ length. Proposals should be 250 words maximum and include a title as well as the name, contact details and affiliation (if applicable) of the speaker.

Panel proposals should consist of a panel title, proposals for 3 papers, along with a rationale for the panel theme, and contact details and affiliations (if applicable) of all participants. Please indicate whether you will provide a chair for your session or not (it does not matter which).

Poster proposals are also welcomed. Please follow proposal guidelines for papers while indicating clearly that a poster is proposed.

All the above proposals should be sent to by 6 March 2020. Please note all speakers and poster presenters will be expected to pay the conference registration fee, but we aim to keep the fee as low as possible.

CFP: Art museums and contemporary collecting practices (Leicester, 27 May 2020)

Let’s talk: round-table on art museums and contemporary collecting practices

School of Museum Studies, University of Leicester, Leicester/UK, May 27, 2020
Deadline: Mar 20, 2020

This round-table event aims to contribute to the discussion around contemporary collecting practices in public art museums. We hope to shed light on this under-examined area by opening the debate to students, researchers and professionals. Including these various perspectives will allow us to analyse the topic through different lenses.

We invite PhD students, early career researchers, academics, museum professionals and artists to submit their proposal to take part in the discussion. The round-table format ensures we will have a collaborative and positive conversation, where a variety of voices can contribute to the debate.

Research on collecting practices has mostly focused on collecting activity from a historical perspective, paying particular attention to individual collectors or the art market. Few studies have considered public art museums and contemporary collecting practice and we aim to address this critical silence.

Questions that will be considered in the discussion include, but are not limited to:
– what, how and why museums collect art (either historical or contemporary) for their permanent collections?
– how decisions to acquire and collect specific artworks are made?
– how contemporary collecting practices can be used to make collections more inclusive and diverse?
– how contemporary collecting practices can be used to decolonise museums; changing and challenging the traditional Western Europe/North American art canon?
– how public museums handle financial issues and limited budgets in order to enrich their permanent collections?
– whether museums need to continually increase their permanent collections, when storage areas may be at full capacity and much of their collection is never displayed?
– how disposal and deaccessioning policies can contribute to contemporary collecting practices?
– whether contemporary art museums need a permanent collection? And if so, when are their collections no longer contemporary?

Submission guidelines:
Please submit your proposal, as outlined below, by sending a short statement explaining your interest (whether academic/professional) in taking part of the round-table, a short biography, and up to three questions you would like to include in the round-table agenda. Please note that this call is for taking part in the round-table discussion, and not to deliver a talk.

To submit your interest in taking part in the round-table discussion, please email with the subject heading “Roundtable Proposal/Full Name”, and include in the email:
– Name and affiliation
– Statement justifying interest in taking part at the round-table (300-word limit)
– Questions/subjects to be included in the round-table agenda (no more than 3)
– Short biography (250-word limit)
– Travel expenses support statement (if applicable)

Travel expenses:
We have a limited number of bursaries to support travel expenses for low-income/non-funded students to attend the event. If you would like to apply for this funding, please include a justification of how this grant will support your attendance at the event (no more than 200-words). Please note, these grants are dependent upon acceptance onto the event.

Deadline: Friday 20 March 2020

Teaching and Learning with Objects for Colleges Symposium

Oberlin College Libraries Department of Special Collections is hosting a 1.5 day symposium on March 13th and March 14th 2020.

For registration and a preliminary schedule see here:

The theme of the symposium will focus on building and teaching with material  collections of objects, and will rely primarily on the holdings and spaces of our own Special Collections and College Archives. Our intended audience is targeted at those who support small liberal arts and special mission colleges with limited financial and collections resources. We seek to convene librarians, curators, and archivists from around the region and the country with an interest in exploring and enhancing objects-based pedagogy on their campuses.

In the last decade Oberlin College Libraries have invested heavily in building collections of textual and visual media that allow students to interact kinetically with crafts such as papermaking, calligraphy and manuscript decoration, printing, binding, and pre-cinematic visual media. We supplement the Class interactions take the form of demonstrations, labs, creative work, and January intensives.

The underlying question many of us have been more quietly asking concerns the changing nature of Special Collections Departments and staff in the liberal arts setting. Our feedback from faculty and students at Oberlin has been very encouraging, so we’re offering to reach out to others to network, and help us share ideas and stories.

For more information about the symposium, or just to share thoughts, please contact me personally at:

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