The Institute.

June 8 to July 10, 2015. Applications are open now.
The Institute for Curatorial Practice is a 5-week intensive summer program at Hampshire College focused on the practice of curation: material, digital, and imaginary.

At the Institute for Curatorial Practice students investigate and implement contemporary modes of curation, combining new media technologies and experimental methods with the direct study of collections in distinguished museums and archives. Our emphasis is on the acquisition of critical, theoretical, historical, and digital skills, while developing imaginative and conceptual strategies for the exhibition of objects, images, sounds, structures, films, sites, texts, and artifacts.


Our program begins with an introduction to the history of museums, collections, and curating alongside an examination of diverse objects, display techniques, and museum careers through site visits to world-renowned museums in the Five College consortium (Amherst, Hampshire, Mount Holyoke, and Smith Colleges and the University of Massachusetts, Amherst). We then examine new directions in curatorial studies, focusing on current explorations in contemporary practice, issues of exhibiting across cultures, and new media platforms. 

Following these introductory weeks, students work in teams to develop exhibitions online and for Hampshire’s digital projection gallery. Using one object from the Five College Museum collections as a catalyst, students develop an exhibition inspired by that object, developing a thematic concept, selecting additional works and texts, articulating a curatorial argument, and acquiring permissions. Student teams will focus on curatorial writing, research, marketing, design, and installation.



Karen Koehler

Karen Koehler, professor of architectural and art history at Hampshire College, and visiting professor in the Five Colleges, is also a member of the Five College Architectural Studies Council. She teaches courses in modern and contemporary art, architecture and design, with a special emphasis on connections between art, literature, critical theory, and socio-political history. Karen received her B.A. in English Literature and M.S. in Library Science from the University of Illinois in Urbana-Champaign, her M.A. in Art History from the University of Massachusetts in Amherst, and an M.F.A. and Ph.D. in Art and Archaeology from Princeton University.

Professor Koehler has done visual and archival research in Berlin, Weimar, Dessau, Paris, Bern, Munich, London, New York, Chicago, and Cambridge, Massachusetts, and has published extensively on twentieth century art and architecture, with a concentration on the role of exhibitions in the history of art. Her work questions the relationships of art and exile, translation and perception, and the interactions of architecture with other forms of cultural expression, as in her edited volume The Built Surface: Architecture and the Pictorial Arts from Romanticism to the 21st Century (London: Ashgate, 2001). In 2012, Professor Koehler took part in a series of workshops and symposia on “Revival: Utopia, Identity, Memory” at the Courtauld Institute for Art, London; and in 2011 with Eve Blau (Harvard University) she chaired a session on “Architectural Exhibitions in/as Critique” at the College Art Association Conference in New York. She has most recently published catalogue essays for the exhibitions The Small Utopia: Ars Multiplicata (Foundazione Prada, Venice, 2012) and The Mad Square: Modernity in German Art 1910-1938 (Art Gallery of New South Wales, 2011) and was a contributing editor to the Mead Collection Handbook (Mead Art Museum, Amherst College, 2011). Her contribution to the conference “Bauhaus Palimpsest: The Object of Discourse” at the Harvard University Art Museums was published in Bauhaus Constructs (Routledge, 2009). Professor Koehler’s museum work began as curatorial assistant at the University Museum of Contemporary Art at the University of Massachusetts, where she contributed to shows on Barnett Newman, Martin Puryear, Chris Burden and other American artists. More recently, Professor Koehler was faculty curator and sole author of the catalogue for Bauhaus Modern at the Smith College Museum of Art (2008), an important exhibition that contributed new thinking on the complexity and diversity of Bauhaus art and history, while challenging assumptions about the mass production of modernist objects and images. She is currently at work on two books, a survey of the Bauhaus for Phaidon Press, and an intellectual history of the German architect Walter Gropius, including his exhibition designs in New York, Berlin, Weimar, London and Paris.

Christoph Cox

Christoph Cox, professor of philosophy, received his B.A. in modern culture and media from Brown University and a Ph.D. in the history of consciousness from the University of California, Santa Cruz. Professor Cox teaches and writes on 19th- and 20th-century European philosophy and cultural theory.

He is the author of Nietzsche: Naturalism and Interpretation (University of California Press, 1999) and co-editor of Audio Culture: Readings in Modern Music (Continuum, 2004). Cox is editor-at-large for Cabinet, writes regularly for Artforum and The Wire, and has published philosophical essays in the Journal of the History of Philosophy, the Journal of Visual Culture, Organised Sound, International Studies in Philosophy, The Review of Metaphysics, and elsewhere. Cox has curated exhibitions at the Contemporary Arts Museum Houston, The Kitchen, New Langton Arts, and G Fine Art Gallery. Cox has written catalog essays for exhibitions at the Whitney Museum of American Art, the Museum of Modern Art, Mass MoCA, the South London Gallery, Berlin’s Akademie der Künste, the Museum of Contemporary Photography, the Oslo Kunstforening, and other venues. He is currently at work on two books: a monograph on sound art, experimental music, and metaphysics; and an edited volume on aesthetics and the new realist and materialist philosophies.

John R. Stomberg

John R. Stomberg is the Florence Finch Abbott Director of the Mount Holyoke College Art Museum and the Joseph Allen Skinner Museum as well as Lecturer in Art in the college’s Art History Department. Before joining Mount Holyoke, Stomberg spent nine years in leadership positions at the Williams College Museum of Art. Starting as Associate Director for Administration and Programs, he rose to Deputy Director and Chief Curator. At Williams too he taught on the history of photography and as a member of the team-taught survey of Western art. From 1996-2002, Stomberg led the Boston University Art Galleries, first as Assistant Director and then as Director. His post at Boston University also included teaching in both the Art History Department in the College of Arts and Sciences and the Graduate Program in Painting in the College for the Arts. His areas of academic interest focus primarily on the intersection of art and culture since 1900. Moving between photography, prints, paintings, sculpture, media art, and installation work, his exhibitions have been conceived to broaden our understanding of how art operates in, and often shapes, society.

Bradley M. Bailey

Bradley M. Bailey, E. Rhodes and Leona B. Carpenter Postdoctoral Curatorial and Teaching Fellow in Japanese Prints at the Mead Art Museum, Amherst College, received both his undergraduate and graduate degrees in the history of art from Yale University. In addition, he holds an MBA from the Yale School of Management, where he was the G. Harold Welch Fund Merit Scholar, focusing on not-for-profit and museum administration. In the past he has curated exhibitions for Recession Art, the Yale University Art Gallery, and the Mead Art Museum, which have focused on a wide range of material, including Japanese art, Conceptual and Post-Minimal art, and Contemporary art and design. In 2010, he was the Hilla Rebay Graduate Fellow at the Solomon R. Guggenheim Foundation, where he worked in the Department of Institutional Development. In the past, he has received numerous awards and grants from organization both in the United States and abroad, including The Yale Center for British Art, The Richard Upjohn Light Fellowship for East Asian Language, Yale University, The United States Department of State, Amherst College, and the Fukutake Foundation.

Prior to his arrival at the Mead, Bradley worked at the Yale University Art Gallery as both the Japan Foundation Curatorial Assistant and the Rose Herrick Jackson Curatorial Assistant, in the departments of Asian Art and American Decorative Arts, respectively. He was also appointed Yale University’s Head Teaching Fellow in the History of Art Department.

His research interests include Japanese art from the 18th to 20th centuries, especially the Meiji Period and Japanese Imperialism, Western collections of Japanese art and artifacts, the influence of East Asian art and thought on Western art practice, and the importation of Western-style oil painting and sculpture in Japan. While at the Mead, he has curated several exhibitions, including On The Glorious Stage of Death: The Attack on Port Arthur in Japanese Prints, An Unblemished Mirror of Truth: Kyohei Inukai, Robert Brackman, and Portraits of American Tragedy, Nature, Pleasure, Myth: Animals in the Art of Japan, and Pain’s Pyrotechnic Spectacle: The Sino-Japanese War in Print, which was supported by the Institute for Curatorial Practice.

At present, he is working on a translation of the complete writings of Aoki Shigeru, a Meiji-era Romanticist painter, and is in the early stages of a historical survey of the relationship between Italy and Japan, from the 16th to the 20th centuries. He is also organizing Unimaginable by One Mind Alone, an upcoming exhibition in which contemporary artists will “complete” the fractured and orphaned panels of Japanese print polyptychs.

Vanja Molloy

Dr. Vanja Malloy joined the Mead Art Museum at Amherst College as the curator of American art in 2014. She came to Amherst by way of the Metropolitan Museum of Art, where she was the Chester Dale Fellow in the Department of Modern and Contemporary Art. Vanja has a Masters in American Fine and Decorative Art from Sotheby’s Institute of Art and a bachelor’s degree in art history from Duke University. She was awarded a Ph.D. in Art History from The University of London’s Courtauld Institute of Art for her dissertation, Rethinking Alexander Calder: Astronomy, Relativity, and Psychology, which explores the intersections of modern art and science and is currently undergoing revision for publication. As the Curator of American Art, Vanja oversees the Mead Art Museum's program for American art, including researching the collection, developing exhibitions, authoring scholarly publications, and proposing new acquisitions. In addition, she oversees a forthcoming multiple-author catalogue of the museum's flagship collections of American paintings and sculpture. 

Jocelyn Edens

Jocelyn Edens is the Kress Curatorial Fellow at Hampshire College. She is a recent graduate of the Center for Curatorial Studies, Bard College, where she developed an exhibition and mobile app that propose an infrastructure for adaptive, collaborative, and local models of arts-led economic development in New York’s Hudson Valley. Prior to studying at CCS Bard, she was the Curator of Education at the Coleman Center for the Arts, a contemporary art organization in rural Alabama that commissions public projects in partnership with visiting artists and area residents. She received her B.A. from Hampshire College in 2010.


Abigail Baines

Abigail Baines, Systems and Discovery Librarian, Hampshire College

Rachel Beckwith

Rachel Beckwith, Access and Arts Librarian at Hampshire College

Madeleine Dahl

Madeleine Dahl graduated from Hampshire College in 2013 with a focus in museum ethics, post colonial identity, and contemporary African and indigenous art. She has worked in both private galleries and public museums in curatorial practice, communications, and public relations. In her personal multimedia work, Madeleine uses photographs, portraits and oral histories of NYC locals, eccentrics, and old-schoolers. Her work addresses issues of displacement and development and female identity and connection to changing urban spaces. She is thrilled to participate as project coordinator at ICP and to return to the Pioneer Valley.

Chris Tamma

Chris Tamma, Media Services Assistant, Hampshire College

Past Lecturers and Staff


Martin Antonetti, curator of rare books and interim director for special collections in the Mortimer Rare Book Room at Smith College

Elizabeth E. Barker, Stanford Calderwood Director of the Boston Athenæum, former Director of the Mead Art Museum

Gordon Hall, artist, founder of the Center for Experimental Lectures

Eric Peterson, web designer, writer, and researcher of architecture and urban history

Laurel Ptak, Executive Director of Triangle Arts Association

Anna Schrade, curator, lecturer at the University of Massachusetts and Five College Associate
Caroline J. White, Kenneth R. Feinberg Archivist at the University of Massachusetts Amherst

Guest Lecturers

Angelina Altobellis

Angelina Altobellis is the Archivist and Collections Curator at Hampshire College. Prior to joining Hampshire, she was the Digital Archivist at Rollins College in Winter Park, Florida, where she established a web archiving program and developed workflows to preserve and provide long-term access to digital content. Angelina is a member of the consulting team for the Finca Vigía Foundation, working with the Museo Hemingway in Havana, Cuba on digital preservation and metadata for the museum's digital collections. She received her B.A. in art history from UMass-Amherst, her M.A. in comparative literature from the University of Texas-Austin, and her M.L.I.S. from Simmons College.

Ellen Alvord

Ellen M. Alvord is the Head of Education and Weatherbie Curator of Academic Programs at the Mount Holyoke College Art Museum. Her previous experiences in arts education include positions at the Yale University Art Gallery, the Smith College Museum of Art, the Guggenheim Hermitage Museum, and the Las Vegas Art Museum. Ms. Alvord holds a Master’s degree in Museum Education from The College of William and Mary, and a B.A. from Mount Holyoke College. In her current position, she collaborates with faculty from a wide range of academic departments to develop engaging, cross-disciplinary experiences for students with original works of art. She also organizes faculty seminars related to object-based learning and creativity as part of a Museum initiative to develop transferrable life skills in college students. Ms. Alvord has presented at academic museum conferences on her work collaborating with biological sciences faculty, MHCAM’s Creativity Initiative, and teaching and learning with art. Along with Linda Friedlaender of the Yale Center for British Art, she is co-author of “Visual Literacy and the Art of Scientific Inquiry: A Case Study for Institutional and Cross-Disciplinary Collaboration,” which appeared in A Handbook for Academic Museums: Exhibitions and Education published in 2012.

Neil Young Cloaca

Neil Young Cloaca (b. 1976) makes music, nonmusic, moving images, and events.

Composing and improvising with intentionally-unstable electroacoustic systems of his own devising, Cloaca regularly dances with failure under the Bromp Treb moniker. Since 2002, he has been a member of art rock quintet Fat Worm of Error, producing and releasing recordings on various independent labels and touring North America, Europe, and the UK.

His moving image work draws upon diary, travelogue, and poetic forms that are aggressively-manipulated, disorienting observations and distortions of truth in memory. His work has been screened in microcinemas, schools and independent art centers in North America and Europe.

Since the late 90’s, Cloaca has been programming experimental art events and building enthusiastic audiences. Projects have included performance and screening series such as the Bright Rectangle (1999 - 2003), the Montague Phantom Brain Exchange (2008 - 2011), Phantom Erratic (2011 - ongoing) and The Peskeomskut Noisecapades (2011 - ongoing), an outdoor winter landscape sound/performance festival held on ice.

In 1999, he received his B.A. from Hampshire College for his studio work in film/video and poetry. He lives in Western Massachusetts, North America.

Aprile Gallant

Aprile Gallant, Curator of Prints, Drawings, and Photographs, Smith College Museum of Art

Deborah Goffe

Deborah Goffe (BFA in Modern Dance from the University of the Arts, MFA in Dance Performance/Choreography from California Institute of the Arts) is a performer, choreographer, dance educator, performance curator, and intermittent video artist. She is Founder/Director of Scapegoat Garden, a Hartford-based collaborative dance theater, driven to create compelling, interdisciplinary performance that goes in through the nose, eyes, skin, ears and mouth to stir those who witness or participate. Through its performance works, community engagement activities, and its laboratory for creative process at The Garden for Contemporary Dance, Scapegoat Garden has demonstrated its commitment to forging relationships between artists and communities, helping people see, create, and contribute to a greater vision of ourselves, each other, and the places where we live. For Deborah, this life-long devotion to the revitalization of local dance eco-systems has manifested in an ever-evolving relationship to performance curation, beginning with her earliest collaborations to produce Drink to This: Performance, Coffeehouse, Art Exhibit and Literary Magazine (1996-99), and continuing with her more recent development of a Performance Salon Series at The Garden Center for Contemporary Dance (2011-14). From 2011-2012, Deborah served as Co-founder/Coordinator the Homegrown Dance initiative, working closely with area dance-makers to re-envision the Greater Hartford dance community. In 2013, Deborah earned a Professional Certificate from Wesleyan University’s Institute for Curatorial Practice in Performance. Most recently, Deborah has embarked on a new journey as Assistant Professor of Modern/Contemporary Dance here at Hampshire College where she is excited to expand her experience of dance and place in this new context.

Jennifer Gunter King

Jennifer Gunter King is the Director of the Library at Hampshire College. She serves as chair of the Five College Librarians Council and chair of the Library Learning Commons Ad Hoc Steering Committee. Prior to joining Hampshire, King was Director of Archives and Special Collections at Mount Holyoke College (2004-2012), where she initiated programs including an online digital archive, electronic records archiving, campus-wide exhibitions and programming. King has held positions in special collections at Virginia Tech and the University of Virginia. She earned her B.A. in history from the University of Maryland Baltimore County, and her M.A. in history and MLS (Archives Concentration) from the University of Maryland. King’s interests include digital curation, 21st century library design, curatorial practices, and advancing the accessibility of archival resources.

Matt Krefting

Matt Krefting is a writer and musician based in Holyoke, Massachusetts. He is a regular contributor to The Wire and his written work appears in surround, Bull Tongue Review, The Huffington Post, and chapbooks of his work have been published by Kendra Steiner Editions and Glass Eye Books. Another Night on the Town, a collection of Krefting’s poems with drawings by Belgian artist Dennis Tyfus, was published in 2014 by Ultra Eczema.

He formed the long-running experimental trio Son of Earth with Aaron Rosenblum and John Shaw in 2000, played bass in The Believers, and performs with Idea Fire Company and Orchid Spangiafora. He performs regularly in the United States and in Europe. His music has been released by Open Mouth, Ultra Eczema, Ecstatic Peace!, and Kye, among others.

Krefting earned his B.A. from Hampshire College, where he studied experimental music and literature. He organized countless musical events at Hampshire and at the Flywheel Arts Collective, booking shows for Joe McPhee, Chris Corsano, Sonic Youth, Arthur Doyle, Christina Carter, Michael Hurley, Six Organs of Admittance, Double Leopards, and many more.

Sara Greenberger Rafferty

Sara Greenberger Rafferty has exhibited widely since 2001, including solo exhibitions at The Kitchen, New York; MoMA PS1, New York. In 2014, she participated in the Whitney Biennial, screening a short video entitled Mono featuring the actor Susie Sokol; the Hammer Biennial as part of Public Fiction’s engagement with “tragedy plus time”; and had a solo exhibition at Fourteen30 Contemporary Art in Portland, Oregon. In 2015 her work is included in museum exhibitions at the San Diego Museum of Contemporary Art and the Atlanta Center of Contemporary Art. Her work is included in the collections of the Museum of Modern Art and Whitney Museum of American Art, among others. From 2005-2007, she was the co-editor of North Drive Press, and she has curated exhibitions and screenings in a number of contexts.

Sara Smith

Sara Smith is the Arts & Humanities Librarian at Amherst College, and editor of KINEBAGO, a publication devoted to New England dance and movement-based performance. She is a 2015 creative research fellow at The American Antiquarian Society. Sara has received support for her interdisciplinary work from The LEF Foundation, Massachusetts Cultural Council, Maine Arts Commission, Mary Duke Biddle Foundation, and the North Carolina Arts Council, and residency fellowships from The MacDowell Colony and Yaddo. She holds a B.A. from Hampshire College, an M.F.A. in Dance from Sarah Lawrence College, and an MLIS from Simmons College.

Kendra Weisbin

Kendra Weisbin, Assistant Curator of Education, Mount Holyoke College Art Museum

Loretta Yarlow

Loretta Yarlow, Director of the University Museum of Contemporary Art, Fine Arts Center, University of Massachusetts, Amherst

Tim Zimmerman

Tim Zimmerman is a Visiting Assistant Professor of Cognition and Education Hampshire College. His research focuses on the learning and teaching of ocean and environmental science concepts in non-school spaces. In particular, he seeks to understand the nature of learning across formal and informal contexts. To achieve this, Dr. Zimmerman combines qualitative and quantitative methodologies to study learning as people move spatially and temporally across informal-formal learning context boundaries at museums, aquariums, outdoor, and other informal learning contexts. He has worked, volunteered, or conducted research at many different informal learning institutions such as the Monterey Bay Aquarium, New York Aquarium and UC Berkeley’s Lawrence Hall of Science. He has also worked or volunteered for organizations such as the Massachusetts Audubon Society, the National Geographic Society, and several parks and recreation systems. Prior to his arrival at Hampshire, he was an assistant professor of science education at Rutgers University. Dr. Zimmerman holds bachelors and masters degrees in marine biology and received his Ph.D. from the University of California, Berkeley in science education.


July 13-August 14, 2015
Application deadline: April 3, 2015

The Institute for Curatorial Practice Paid Internship Program is open to any undergraduate student engaged in curatorial studies, with preference given to those students who attend the ICP from June 8-July 10, 2015.

Interns are eligible for on-campus housing at no cost, all other off-campus housing arrangements are the responsibility of the intern. Meal plans are available for purchase by the intern. The internship stipend for the summer is $2,000; 50% of the stipend will be paid to the intern at the start of the internship, and the remaining 50% paid at program's end.

*If you have your own internship funding from your home institution, and would like to pursue an internship within the Museums10 community, please contact for more information.

Internship Placements for 2015 

1. Mount Holyoke College Art Museum. Supervised by Hannah Blunt, Assistant Curator.
The Mount Holyoke College Art Museum would like to propose a digital exhibition of Judy Pfaff’s sculpture for our 2015 summer internship. The museum is organizing an exhibition of Pfaff’s wall-mounted works, a series that spans approximately 12 years from 1984 to 1996. In 2014, MHCAM received the gift of a work from this series, Wallabout, 1986. The fall 2015 exhibition will feature this work with approximately eight other works for this period of Pfaff’s career. The hope is to create a clear, focused, and discrete grouping. The intention of the digital exhibition is to reflect the physical exhibition while greatly expanding on the context for the included works. This online module can chart Pfaff’s career before and after the wall-mounted era, as well as other germane cultural and historical factors. The goal is to have the digital exhibition online by September 2015. Not only will the physical exhibition open at that time, but the Museum’s totally revamped webpage will be making its debut. One technical aspect of the web overhaul is to make the insertion of various forms of media content viable.

Qualifications: Familiarity with contemporary art and history and research skills; Working knowledge of creating web-based content. Access to regular transportation preferred.

2. Hampshire College Library. Supervised by Bonnie Vigeland, Humanities Librarian.
With the installation of the exhibition "Al-Mutanabbi Street Starts Here" in mid-June, the intern might observe the installation and curation of the show (depending on the demands of the ICP program) and begin to participate in planning some of the programming that will occur later in the summer and fall. The student will help out with developing publicity on social media, organizing logistics for any events that the college plans around the exhibit, and possibly acting as a docent on site for summer visitors. The primary initiative for the intern will be to develop a digital project growing out of the physical exhibition that focuses on themes in the exhibit that connect with Hampshire College and its curriculum. The intern will be free to develop this project in whatever way seems best for capturing student interest, since the primary audience for this exhibition will be students at the college.

Qualifications: The intern needs to be skilled in social media, digital curation, and exhibition. An interest in how print and visual artists respond to violence is important. Specific ancillary interests in Iraqi cultural history, Arabic literature, and/or destruction of cultural artifacts in war would be an asset. Looking for a hard-working, easy-going, and smart intern. Intermediate level WordPress skills. Any other digital skills are great, but I'm willing to work with whatever kinds of skills the intern has, since the project is fairly open-ended. Transportation not required if staying in on-campus housing.

3. Mead Art Museum/Japanese Prints. Supervised by Bradley Bailey, Carpenter Postdoc Curatorial Fellow, and Vanja Malloy, Curator of American Art.
This project, tentatively titled "Lilla S. Perry's 'Treasure Hunt' and Japanese Prints in the 1930s," will make use of the Mead's shin- and sosaku-hanga holdings and an unpublished manuscript in the Frost Library. This manuscript details Lilla S. Perry's time in Japan in 1936 and was given to Bill Green (the major donor of Japanese prints to the Mead) to be edited. Though a few excerpts were published over 15 years ago in a journal, the entire manuscript, the ephemera and photographs along with it, and Mr. Green's annotations (a mass of materials that totals almost 180 pages) remains unpublished. This project would result in an e-publication (possibly supported by Amherst College Press) of Mrs. Perry's text, as well as a supplementary exhibition that would provide context in the form of photographs, ephemera, the notes of Bill Green, and any related materials of Mrs. Perry's, the bulk of which are held by the Huntington in San Marino. As such, it presents the opportunity to make a scholarly resource, to publish a primary source account of Japan in the 1930s, and to make use of the Mead's superior collection of Japanese prints from the 1930s, mostly notably the designs of Tsuchiya Rakusan, as Mrs. Perry met him and describes their encounter in great detail.

Qualifications: Some knowledge of Japan, printmaking, and/or modern art would be ideal but is not necessary. Familiarity with art historical writing and methodology is a prerequisite. Experience with manuscripts or museum catalogue entry writing would be ideal. One strict requirement is excellent grammar and writing skills, as we will be dealing with a semi-edited manuscript and producing several catalogue entries. Familiarity with WordPress and Photoshop, however, will prove vital, as will some knowledge of HTML. Knowledge of InDesign would also be excellent. Access to regular transportation preferred.

4. Mead Art Museum. Supervised by Amy Halliday, Acting Curator of Academic Programs.

The Mead Art Museum at Amherst College opened its doors in 1949. Yet almost from the very inception of the college in 1821, faculty members and students collected, exhibited, researched, interpreted, and taught with art and artifacts. Why, how, and from where were these collections formed? Where were they displayed around campus and who used them? Where are they now and how have attitudes towards collections and curation changed over time? This project is situated within the broader contemporary curatorial landscape, in which recent attention has focused on retracing and reimagining the lost, dispersed, eccentric or otherwise protean elements of institutional collections (catalyzed by Brown University’s “Lost Museum” project). Through a digital exhibition that interweaves material from both the art museum and the college archives, this project seeks to render visible the multiple histories of collecting, displaying and teaching (with) art at Amherst College, providing a framework for locating curatorial, collecting and educational practices at the Mead Museum today.

Qualifications: Some academic affinity with art history and historiography; the history of museums and collecting. Prior experience working with/researching in archives is desirable but not essential. Good writing skills, and experience writing at a scholarly, yet accessible level (for example, an academic blog, or museum labels) would be a bonus. Familiarity with Microsoft office applications, including InDesign (or similar entry-level publishing application) Scanning archival materials Basic photoediting; WordPress (if possible, some ability to modify existing templates – but not necessary); Omeka (desirable, but not essential). Access to regular transportation preferred.

5. Mead Art Museum / Latin American Textiles. Supervised by Keely Sarr, Assistant Museum Educator.
From early modern anthropological collections to contemporary explorations of the “global Renaissance,” methods of collecting and exhibiting pre-colonial Latin American art vary widely: and all convey different messages about the works (and cultures) that they showcase. Featuring a Tiahuanaco textile (AC T.1933.10) as the core object of a digital exhibition, this project will interrogate the contrasting (and complementary) ways in which such objects are displayed and what particular impressions these viewings impart to a museum-going audience. The delicate nature of the Mead's South American textiles makes it impossible to display them in the galleries for extended periods of time; consequently, this digital exhibition is an unprecedented opportunity for visitors to explore highlights of the textile collection.

Qualifications: The ideal intern would possess an interest in and/or some academic familiarity with one or more of the following topics: pre-Conquest Latin America, textiles and fiber arts, art and commodification, curation and coloniality, the history of collecting, and material culture from outside the realm of “Western fine art.” Ultimately, the intern and supervisor will need to work together to create engaging digital content, including text, images, and more interactive elements, to ensure that this exhibition is accessible and educational for a wide audience. Intern applicants with experience in design and digital content creation (blogging and/or website or database management) are especially encouraged to apply. Access to regular transportation preferred.

6. University Museum of Contemporary Art, University of Massachusetts Amherst. Supervised by Loretta Yarlow, Director, and Eva Fierst, Education Curator.
In 1975 the University Museum of Contemporary Art (formerly the University Gallery) was created as a unique organization at the University of Massachusetts Amherst centered on the fundamental vision of bringing the most important contemporary national and international art to our community. Our exhibitions have provided a forum for the exchange of ideas and perspectives that reflect the world we live in, with the belief that contemporary art can impact our lives and that we all gain by bringing people together around the critical work of artists. Now, in recognition of our 40th anniversary, renowned local, national, and international artists are giving back to our museum through generous donations of their works of art to the UMCA’s permanent collection, to serve as a legacy and to help us continue our role as an inspirational teaching resource. We are proposing a project to ICP which involves designing a virtual exhibition that showcases the “Then and Now” for each artist’s donated work of art in relation to the artist’s first seminal exhibition at the UMCA. The digital images would compare and contrast how the artist’s work has evolved since its premiere at the UMCA decades ago, or, if the donated artwork dates from the same period of time when the artist had her first showing at the UMCA, the exhibition would demonstrate how this body of work is one of the artists’ defining moments. The ICP Intern could create a virtual exhibition by selecting from the following artists who have made recent donations: Eve Aschheim, Alice Aycock, Radcliffe Bailey, Miroslaw Balka, Dawoud Bey, Daniel Buren, Lynne Cohen, Donna Dennis, Brendan Fernandes, LaToya Ruby Frazier, Tom Friedman, Frank Gohlke, David Goldblatt, Matthew Higgs, Jenny Holzer, Robert Irwin Kimsooja, Julie Mehretu, Ann Messner, Stephen Petegorsky, Ellen Phelan, Jefferson Pinder, Avery Preesman, Scott Prior, John Riddy, Tim Rollins and K.O.S. Sheron Rupp, Katy Schimert, Anna Schuleit, Frederic Schwartz, Joel Shapiro, Joel Sternfeld, Elizabeth Stone, Beat Streuli, David Teeple, Mickalene Thomas, Francesc Torres, George Trakas, Billie Tsien/Tod Williams, Andy Warhol, Carolyn Webb, Carrie Mae Weems, William Wegman, James Welling, Allan Wexler, and Peter Wuethrich.

Qualifications: Strong background and interest in modern/contemporary art. Excellent writing skills. An expressed interest in entering the museum field is also a plus. Excellent knowledge and skills with most recent computer technologies and platforms. Access to regular transportation preferred.

7. History of Art and Architecture, University of Massachusetts Amherst; University Museum of Contemporary Art. Supervised by Laetitia La Follette, Associate Professor of Art History.
Professor Laetitia La Follette proposes this collaborative project with the UMCA which involves designing a virtual exhibition that showcases Roman portraits to play off the fall 2015 Chuck Close Photographs exhibition at the University Museum of Contemporary Art. Chuck Close has revived the subject of the portrait, largely abandoned by abstract artists. He is most famous for painting faces of himself, family and friends, enlarged to colossal scale using an underlying grid system or mosaic of pixel-like abstract forms, and sometimes even miniature images of the same face. The huge scale, coupled with the play between the figurative and the abstract, lend his work what one critic terms a “Zen uniformity of vision that is compelling in its seeming sameness” (Sean OHagan, “Headmaster” The Guardian). Chuck Close Photographs is a comprehensive survey of significant scope and scholarship, exploring how the artist, perhaps one of the most important figures in contemporary art, has stretched the boundaries of portraiture as well as the boundaries of photographic means, methods, and approaches throughout his career. Many of the works in the forthcoming exhibition, organized by Terrie Sultan (Parrish Art Museum, Long Island), are photographs of heads, like the ones Close uses as the foundation for his iconic portraits. Close says “I paint heads because heads matter to everybody. If you paint a face big enough, it’s hard to ignore.” He also stresses the importance of anonymity of his portraits, titling them only by first name. Why contrast Roman portraiture? The Romans produced the largest body of marble portraiture, of figures largely nameless to us now whose faces stare out at us, demanding our attention. Their aesthetic like Close’s is “in your face.” They appear well aware of being on display, of being observed. In ways complementary to Close’s, Roman portraits also balance the specific (the particularity of hair, physiognomy, expression) with the abstract (not just the geometry of the head, but also the coding of social and cultural values).

Qualifications: Ability to develop the outlines for this virtual exhibition working in collaboration with Loretta Yarlow and the students enrolled in the ICP Summer Program. We envision this will work in a similar way to such digital exhibitions developed for the UMCA website by Prof. Cakmak with her nineteenth-century students; we hope it will take the virtual exhibition site several steps further in its technology and visual appeal. Access to regular transportation preferred.

8. The Cunningham Center for the Study of Prints, Drawings, and Photographs at the Smith College Museum of Art. Supervised by Aprile Gallant, Curator, Prints, Drawings, and Photographs.

The intern will work on one of two projects for the SCMA website. 1) an update/redesign of a site for the Smith College Print Workshop or 2) a digital platform to showcase works from the Gladys Engel Lang and Kurt Lang Collection, a recent gift of 1,434 prints from the period of the English and American etching revival (1850-1940).

Qualifications: Knowledge of art history and printmaking desirable but not 100% necessary; superior organizational skills, and the ability to work independently. Facility with working with images of all kinds and design skills. Access to regular transportation preferred.