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.
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.
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.
Anna Schrade curated or co-curated the exhibitions Crossing Munich: Orte, Bilder und Debatten der Migration (Kulturreferat München 2009), Spuren: Neue Arbeiten von Christophe Ndabananiye (Iwalewa-Haus 2010), AfroSat I (Iwalewa-Haus 2010), Mine: A Selection of Films by South African Artists (Iwalewa-Haus 2010) and AfroSat II (Iwalewa Haus 2012).
Past Lecturers and Staff
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
Caroline J. White, Kenneth R. Feinberg Archivist at the University of Massachusetts Amherst
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.
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.
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.
July 13-August 14, 2015
Application deadline: April 3, 2015
The Institute for Curatorial Practice Paid Internship Program is open to any 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 firstname.lastname@example.org 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.