A curatorial assistant works in an art museum's curatorial department providing support to curatorial projects.
An art gallery assistant helps run an art gallery. Learn about the education, skills, and duties required of this position, plus career opportunities.
In early 2018, I received the welcome news that UCLA Library Special Collections would consider lending drawings by Rick Barton to an exhibition at the Morgan. Moreover, more than 600 drawings that had not been located at the time of my visit were now available to view. My next opportunity to travel to Los Angeles would not arrive until October of that year. But in the interim, I made a number of crucial discoveries.
Questions can be asked on how museums around the world will evolve from a spatial perspective and from a political perspective.
The art world, as those of us who participate in it know quite well, is exceedingly white. The Andrew W. Mellon Foundation is taking a stab at that problem with a new fellowship that seeks to diversify the curatorial field, specifically at major art institutions around the county.
To reduce the transmission of COVID-19, the Centers for Disease Control and Prevention recommends long and extensive handwashing after you have touched an item that may be frequently touched by…
Associate director for curatorial affairs
Learn what it takes to be an art museum curatorial technician, including the duties, skills, education, and tools required.
An art gallery assistant helps run an art gallery. Learn about the education, skills, and duties required of this position, plus career opportunities.
Our favourite snaps from #MuseumSelfie day, a Twitter celebration to showcase some of the world’s greatest collections
The Palace Museum Southern Branch, designed by KRIS YAO | ARTECH, has three fluid forms inspired by Chinese calligraphy strokes. The building blends with the surrounding fields and serves different functions. The solid form houses the curatorial department and exhibition halls.
E. O. Hoppé, Metro Station at the British Museum, London, 1937
Making a career change with a bachelor's degree entails researching options, leveraging transferable skills and tailoring a resume to targeted jobs in other fields. Additional training can further expand career possibilities and potential earnings.
This winter the walls of the Rotunda Galleries will be decked with a vibrant array of Japanese woodblock prints from the Gibbes permanent collection. These examples of eastern art from […]
I like Matthew Barney’s works especially his performances. One of the prominent works of his is the 300 minutes long video called, ‘Cremaster Cycle’, 1994-2002. I find it to be su…
I am blogging a paper, as below, written in response to an invitation to talk about Indigenious art curatorial practice for the recent Pacific Art Association XII International Symposium. The sympo…
In this series, Lagniappe presents a different work each week from the collection of the New Orleans Museum of Art, with commentary from a curator.
The Guggenheim Museum has brought on Ashley James, who will be its first black full-time curator.
The School of Visual Arts offers the place and time to expand your thinking and skills as a curator, with an extraordinary faculty in NYC.
Associate Curator Jayson Dobney celebrates National Piano Month by highlighting some of the breathtaking instruments found in the Museum's collection.
Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.
In this series, Lagniappe presents a different work each week from the collection of the New Orleans Museum of Art, with commentary from a curator.
Located in NYC’s landmark Carnegie Mansion, the Cooper Hewitt, Smithsonian Design Museum houses one of the most diverse and comprehensive collections of design work in existence. Originally created in the late 19th-century by sisters Sarah and Eleanor Hewitt, the museum’s collection is now comprised of over 210,000 objects collected from around the world and spanning thirty centuries. Making Design: Cooper Hewitt, Smithsonian Design Museum Collections brings these objects to readers both near and far, featuring full-color photos of more than 1,100 collection objects selected by the museum’s curatorial staff. All kinds of items await in these pages, from textiles, wallpapers, architectural blueprints, patterns and furniture to clothing, dishes, home appliances, vintage posters, book covers, paper fans and so much more. Interspersed throughout these images are fifty-four illuminating essays, most of which were written by members of the Cooper Hewitt staff, which weave parallel narratives throughout. Designed by the award-winning Dutch graphic designer Irma Boom, the book itself is an object to be admired, pairing a small, chunky shape with black-edged pages and clever glow-in-the-dark cover text. A fun and fascinating look at the many ways that design impacts our everyday lives, Making Design is a must-have for any art-lover or collector. •6"W x 3.25"D x 8.25"H •designed by Irma Boom•various contributors •paperback•912 pages
This week's New Yorker takes a shot at the craze to "curate" everything in our lives.
Original artwork specifications as provided from the museum (© Copyright - The Metropolitan Museum of Art - www.metmuseum.org) Mezzetin, a stock comic character of the Italian commedia dell'arte, became an established performer on the Paris stage. Various players were engraved in his costume, which by about 1680 comprised a striped jacket and knee-britches, a floppy hat, a ruff, and a short cape. Mezzetin was by turns interfering, devious, and lovelorn, but not languorous. His head and his large, angular hands are extraordinarily expressive. This artwork titled Mezzetin was painted by the rococo master Antoine Watteau in 1718. The piece of art has the following size: 21 3/4 x 17 in (55,2 x 43,2 cm) and was manufactured with the technique of oil on canvas. Today, the artpiece forms part of the The Metropolitan Museum of Art's digital art collection, which is one of the world's largest and finest art museums, which includes more than two million works of art spanning five thousand years of world culture, from prehistory to the present and from every part of the globe.. We are glad to reference that the work of art, which belongs to the public domain is being included with courtesy of The Metropolitan Museum of Art, New York, Munsey Fund, 1934. The creditline of the artwork is: Munsey Fund, 1934. Furthermore, alignment of the digital reproduction is portrait with a ratio of 3 : 4, which means that the length is 25% shorter than the width. Antoine Watteau was a male painter from France, whose art style can be classified as Rococo. The French artist lived for 37 years, born in the year 1684 in Valenciennes and passed away in 1721. Pick a art print material variant In the dropdown lists next to the product offering you can choose the material and sizeaccording to your individual preferences. Hence, we allow you to choose among the following options: Canvas: A canvas direct print is a printed canvas stretched on a wooden stretcher. It generates the particular effect of three-dimensionality. Hanging your canvas print: The advantage of canvas prints is that they are relatively low in weight, meaning that it is easy to hang your Canvas print without any wall-mounts. Canvas prints are suitable for any kind of wall. Acrylic glass print: The print on acrylic glass, often referenced as a plexiglass print, makes an artwork into décor. Above all, it forms a great alternative option to dibond and canvas prints. The artwork is made with the help of state-of-the-art UV direct print machines. The effect of this are rich and deep colors. With an acrylic glass art print sharp contrasts plus minor painting details will be more exposed because of the delicate tonal gradation in the picture. The plexiglass protects your selected fine art print against light and external influences for up to 60 years. Aluminium dibond print (metal): Aluminium Dibond prints are prints on metal with an impressive depth effect, which makes a contemporary impression thanks to a non-reflective surface. A direct Direct Print on Aluminum Dibond is the best introduction to art reproductions with aluminum. The colors of the print are vivid and luminous, the details of the print appear very clear. The UV print on aluminium is the most popular entry-level product and is a truly stylish way to display art, because it puts all of the viewer’s attention on the artwork. The poster print on canvas material: Our poster print is a printed cotton canvas paper with a nice finish on the surface. The printed poster is best suited for framing the art print with the help of a custom frame. Please keep in mind, that depending on the size of the poster we add a white margin 2-6cm round about the painting, which facilitates the framing. Artist overview Artist name: Antoine Watteau Gender: male Nationality of artist: French Professions: painter Country of the artist: France Classification: old master Art styles: Rococo Life span: 37 years Birth year: 1684 Born in (place): Valenciennes Year died: 1721 City of death: Nogent-sur-Marne Background information on the original piece of art Title of the piece of art: "Mezzetin" Categorization of the artwork: painting Umbrella term: classic art Artwork century: 18th century Artpiece year: 1718 Artwork age: around 300 years Medium of original artwork: oil on canvas Size of the original artpiece: 21 3/4 x 17 in (55,2 x 43,2 cm) Museum: The Metropolitan Museum of Art Museum location: New York City, New York, United States of America Museum website: The Metropolitan Museum of Art Artwork license: public domain Courtesy of: The Metropolitan Museum of Art, New York, Munsey Fund, 1934 Artwork creditline: Munsey Fund, 1934 Item information Product categorization: art copy Reproduction: reproduction in digital format Manufacturing method: digital printing Production: manufactured in Germany Stock type: on demand production Intended product usage: wall decoration, art reproduction gallery Orientation: portrait format Aspect ratio: 3 : 4 Image ratio meaning: the length is 25% shorter than the width Available product fabrics: metal print (aluminium dibond), poster print (canvas paper), acrylic glass print (with real glass coating), canvas print Canvas on stretcher frame (canvas print) options: 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" Acrylic glass print (with real glass coating) variants: 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" Poster print (canvas paper) size variants: 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" Aluminium print sizes: 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" Framing of the art reproduction: no frame Important note: We try everythig possible to depict our art products with as many details as possible and to illustrate them visually. Please keep in mind that the pigments of the print materials, as well as the printing can differ slightly from the representation on your monitor. Depending on your screen settings and the condition of the surface, not all colors are printed 100% realistically. Since all our art prints are processed and printed by hand, there might also be slight variations in the exact position and the size of the motif. This text is protected by copyright © | Artprinta.com (Artprinta)
By Jason Foumberg A new initiative at five U.S. art museums intends to diversify the curatorial ranks at major art museums. A two-million-dollar grant from the Andrew W. Mellon Foundation supports the initiative, the first of its kind in the U.S. The program connects college sophomores from marginalized backgrounds with curators at the five participating
(© - The Metropolitan Museum of Art - The Metropolitan Museum of Art) The full-length portrait of Susan Walker Morse (1819–1885), the eldest daughter of the artist, was painted during the crucial years of the invention of Morse's telegraph (ca. 1835–37). The painting shows the girl at about the age of seventeen, sitting with a sketchbook in her lap and pencil in hand with her eyes raised in contemplation. Although traditionally described as a Muse, the figure is more likely a personification of the art of drawing or design. Morse drew on the full extent of his European training, taking from the works of Rubens and Veronese in what was to be an ambitious farewell to his career as an artist. Stymied by a lack of financial success, he abandoned painting for science and inventing. This painting was first exhibited at the National Academy of Design in 1837, where it won enthusiastic praise. Susan married Edward Lind in 1839 and moved to his sugar plantation in Puerto Rico, returning often to New York to spend extended periods with her father, who had been left a widower when Susan was just six. She gradually grew less and less happy with her husband and plantation life. Lind died in 1882; in 1885, Susan set out to return to New York permanently but tragically was lost at sea. Structured artwork information Piece of art name: "Susan Walker Morse (The Muse)" Classification: painting Umbrella term: modern art Period: 19th century Year of creation: 1836 Approximate age of artwork: more than 180 years old Original medium: oil on canvas Size of the original artwork: 73 3/4 x 57 5/8 in (187,3 x 146,4 cm) Museum / location: The Metropolitan Museum of Art Location of museum: New York City, New York, United States of America Web URL: www.metmuseum.org License: public domain Courtesy of: The Metropolitan Museum of Art, New York, Bequest of Herbert L. Pratt, 1945 Artwork creditline: Bequest of Herbert L. Pratt, 1945 Artist details Artist name: Samuel F. B. Morse Artist gender: male Nationality of artist: American Jobs of the artist: painter Country: United States Classification of the artist: modern artist Lifespan: 81 years Born in the year: 1791 Died: 1872 Structured product information Product categorization: fine art reproduction Reproduction method: digital reproduction Production technique: digital printing (UV direct print) Production: Germany Stock type: on demand production Product use: wall art, home design Orientation of the artwork: portrait alignment Image ratio: length to width 3 : 4 Meaning: the length is 25% shorter than the width Material choices: poster print (canvas paper), acrylic glass print (with real glass coating), canvas print, metal print (aluminium dibond) Canvas print (canvas on stretcher frame): 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47", 120x160cm - 47x63" Acrylic glass print (with real glass coating) options: 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47", 120x160cm - 47x63" Poster print (canvas paper) size options: 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" Aluminium print (aluminium dibond material) size variants: 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" Art print framing: unframed reproduction Pick your product material The product dropdown menu ofers you the chance to select your prefered size and material. That is why, we allow you to choose among the following options: The acrylic glass print: An acrylic glass print, often denoted as a UV print on plexiglass, makes your favorite original into brilliant décor and is a viable alternative to canvas and dibond prints. The work of art is being made with the help of modern UV direct print machines. The acrylic glass protects your custom art print against light and heat for up to 60 years. Aluminium dibond print: Aluminium Dibond prints are prints on metal with a true depth - for a modern look and a non-reflective surface. The Aluminium Dibond Print is your best introduction to art reproductions on aluminum. The poster print on canvas material: Our poster print is a UV printed canvas paper with a nice structure on the surface. It is perfectly suited for putting the art copy with the help of a custom-made frame. Please bear in mind, that depending on the absolute size of the canvas poster print we add a white margin 2-6cm round about the print motif, which facilitates the framing with your custom frame. Canvas: A canvas print is a printed canvas mounted on a wooden stretcher. The great advantage of canvas prints is that they are relatively low in weight. That means, it is quite simple to hang up the Canvas print without the support of any wall-mounts. A canvas print is suited for any kind of wall. This over 180 year-old artpiece Susan Walker Morse (The Muse) was made by the male painter Samuel F. B. Morse in 1836. The original of the work of art measures the size 73 3/4 x 57 5/8 in (187,3 x 146,4 cm) and was made on the medium oil on canvas. This work of art is included in the The Metropolitan Museum of Art's digital collection. With courtesy of - The Metropolitan Museum of Art, New York, Bequest of Herbert L. Pratt, 1945 (public domain). Creditline of the artwork: Bequest of Herbert L. Pratt, 1945. Moreover, alignment is in portrait format with an aspect ratio of 3 : 4, which means that the length is 25% shorter than the width. Important information: We try our best in order to depict our art products with as many details as possible and to exhibit them visually on the different product detail pages. Please bear in mind that the tone of the printed materials, as well as the print result may differ marginally from the representation on the device's screen. Depending on your settings of your screen and the nature of the surface, colors can unfortunately not be printed as exactly as the digital version depicted here. Because all art prints are printed and processed manually, there might as well be slight discrepancies in the size and exact position of the motif. This text is protected by copyright © , Artprinta.com
Associate Curator Jayson Dobney continues his celebration of National Piano Month by highlighting another set of instruments from the Museum's collection.
Vivemos para viajar! A sensação de abrir os olhos, estar num país novo e perante uma realidade diferente é inexplicável, mas muitas das vezes também sai caro! E, apesar de haver algumas despesas qu…
An art gallery assistant helps run an art gallery. Learn about the education, skills, and duties required of this position, plus career opportunities.
The November 2014 editorial [[embed type=link nid=23034 title="The Equalizers"]] was very welcome in its forthright recognition of Sight & Sound’s role in women’s under-representation in the film industry and film criticism. The magazine needs to go further, however, than a modest invitation, as testified by our open letter which collected 75 international signatories from across feminist filmmaking, criticism and curation. It is time for Sight & Sound to pay attention, regularly and assiduously, to the rich, diverse, exciting and present moment of feminist cinema and moving-image media in the UK and beyond.
