Enfilade

Decorative Arts Trust Prize for Excellence and Innovation

Posted in opportunities by Editor on June 21, 2022

From the Decorative Arts Trust:

Decorative Arts Trust Prize for Excellence and Innovation, $100,000
Application due by 30 June 2022

To further the Decorative Arts Trust’s mission to foster appreciation and study of the arts, the Trust established the $100,000 Decorative Arts Trust Prize for Excellence and Innovation. The Prize funds outstanding projects that advance the public’s appreciation of decorative art, fine art, architecture, or landscape.

The Prize is awarded to a non-profit organization in the United States or abroad for a scholarly endeavor, such as museum exhibitions, print and digital publications, and online databases. The Trust’s selection committee aims to recognize impactful and original projects that advance scholarship in the field while reaching a broad audience. The Black Craftspeople Digital Archive (BCDA) was the recipient of the 2021 Prize.

“This award advances the work of our talented mid- and late-career colleagues as a complement to our efforts to support young scholars through the Emerging Scholars Program,” states Matthew A. Thurlow, the Decorative Arts Trust’s Executive Director. “We have made a long-term commitment to furthering innovative scholarship in the arts while reinforcing the Trust’s mission and promoting our broader programs. We are grateful for the opportunity to celebrate exceptional endeavors in the arts.”

Nominations should be submitted to thetrust@decorativeartstrust.org by June 30. Projects can extend 1–5 years for final completion after the Prize is awarded, but no longer. Collaborative endeavors that unite multiple institutions are encouraged to submit nominations. Ongoing projects are suitable for nomination.

Nominations should include
• Cover letter (limited to two pages)
• Narrative stating the objectives and outcomes (limited to five pages)
• Budget
• Timeline
• CVs of institution’s key personnel (limited to two pages each)
• List of collaborating partners (if applicable)
• List of current funders and other potential fundraising sources (if applicable)
• Most recent 990

Finalists will be notified by the end of August. The recipient will be notified by the end of the year and will be required to submit additional content.

Study Trip | Bavaria: Grandeur in Southern Germany

Posted in graduate students, on site, opportunities by Editor on May 27, 2022

The trip is fully booked, but The Decorative Arts Trust is still accepting applications for one scholarship student:

Bavaria: Grandeur in Southern Germany Study Trip
The Decorative Arts Trust, 7–15 October 2022

Scholarship applications due by 30 June 2022

The Decorative Arts Trust is offering a Helen Scott Reed Study Trip Abroad Scholarship for an emerging professional or a graduate student to attend our Bavaria: Grandeur in Southern Germany Study Trip, 7–15 October 2022. Applicants are encouraged to send a letter of interest, a curriculum vitae (CV), and a reference letter to thetrust@decorativeartstrust.org by 30 June 2022. Preference will be given to applicants whose current research is related to the sites and objects we will experience in southern Germany. Preference will be given to those focusing on the decorative arts, but students, curators, and historians studying architecture, fine art, and landscape are also welcome to apply. See the trip itinerary here.

RA Short Course | Art and Society in 18th-Century Britain

Posted in opportunities by Editor on April 20, 2022

This summer from the RA:

Art and Society in 18th-Century Britain
RA Summer School Course, Royal Academy of Arts, London, 2–6 August 2022

Angelica Kauffmann, Portrait of Lady Georgiana, Lady Henrietta Frances, and George John Spencer, Viscount Althorp, 1774, oil on canvas, 127 × 102 cm (Althorp House, Northamptonshire).

Immerse yourself in the Age of Enlightenment—its art, culture and society—at the historic Royal Academy.

The week-long course offers a grand tour of British art and society, with introductions to the artists, sitters, and collectors who defined the period. We look at the work of Hogarth, Reynolds, Kauffmann, and Turner, their impact on British society, and their lasting legacies. We meet some of the famous characters that defined the first age of celebrity via their portraits: Lord Burlington, the Duchess of Devonshire, the Prince of Wales, and Emma Hamilton.

We start the tour in London and look at the factors that resulted in the creation of the Royal Academy of Arts itself in 1768 and then widen our reach to explore ideas of Britishness and the English landscape; British relationships with its European neighbours, most notably their old enemy, France; and finishing at the dawn of the 19th century, embracing a newly global perspective, encompassing ideas of empire, travel, and exploration. The course covers numerous mediums and genres—from architecture to landscape—and the great European movements of the period: Baroque, Rococo, Neo-Classicism, and Romanticism. The week is comprised of talks, seminars, and discussions based at the Royal Academy’s iconic 18th-century home, Burlington House, and will include access to many of London’s greatest art collections. The course is led by a broad range of experts and encourages a collaborative and discursive environment. After completing the course, participants will have a strong understanding of both the art and culture of the 18th century and the lasting impact that the Age of Enlightenment had on future generations of artists and their works.

Covid-19 update: We are looking forward to welcoming you back in a way that ensures everyone’s safety. Numbers will be limited to allow for social distancing, and we will be following the latest government guidelines. In the event of another national lockdown or enforced closure, we reserve the right to move this event online or to a future date. If you have any questions or concerns, or would like to discuss any accessibility needs, please contact academic.programmes@royalacademy.org.uk.

The course fee is £1,800, which includes all materials, light refreshments each day, and drinks receptions throughout the week. Minimum age 18.

Speakers

Dan Cruickshank is a writer, art historian, architectural consultant, and broadcaster who has made numerous history and culture programmes and series for the BBC including Around the World in Eighty Treasures, Adventures in Architecture, and Britain’s Royal Palaces. His books include London: The Art of Georgian Building, Life in the Georgian City, and The Secret History of Georgian London: How the Sex Industry Shaped the Capital. Dan is an Honorary Fellow of the Royal Institute of British Artists, a member of the Executive Committee of the Georgian Group, and on the Architectural Panel of the National Trust, and is an Honorary Fellow of RIBA.

Jacqueline Riding is the author of Jacobites (2016), Peterloo (2018), and the major biography Hogarth: Life in Progress (2021). She was the historical and art historical adviser on Mike Leigh’s Mr. Turner (2014) and Peterloo (2018) and is a trustee of JMW Turner’s House, Twickenham.

Charles Saumarez Smith was Secretary and Chief Executive of the Royal Academy from 2007 to 2018 and is now Professor of Architectural History. He was trained as an architectural historian at King’s College, Cambridge and did a PhD at the Warburg Institute on the architecture of Castle Howard, published in 1990 as The Building of Castle Howard. He has been Slade Professor at Oxford University, is an Honorary Professor at Queen Mary University, and architecture correspondent for The Critic.

Mark Pomeroy has been Archivist of the Royal Academy since 1998. He completed post-graduate training in Archive Administration at Aberystwyth University in 1996 and was then appointed the first ever records manager to the UK Parliament. Mark has written extensively on subjects bearing on the history of the Royal Academy, most recently making contributions to the History of the Royal Academy and the Paul Mellon Centre’s Summer Exhibition Chronicle. His edited Letters of James Northcote (co-authored with Jonathan Yarker) is forthcoming. Mark sits of the Archives & Heritage Committee of BAFTA and is a regular lecturer for The Archives Skills Consultancy.

Martin Postle is Senior Research Fellow Paul Mellon Centre, and formerly the Deputy Director for Grants and Publications. Between 1998 and 2007 he worked at Tate as Senior Curator and Head of British Art to 1900. Martin’s publications include Sir Joshua Reynolds: The Subject Pictures (1995), Gainsborough (2002), and, with David Mannings, Sir Joshua Reynolds: A Complete Catalogue of his Paintings (2000). Among the exhibitions he has curated are Joshua Reynolds: The Creation of Celebrity (Tate Britain and Palazzo dei Diamanti, Ferrara 2005) and Johan Zoffany, RA: Society Observed (Yale Center for British Art and the Royal Academy of Arts, London 2011–12). Martin is currently in the early stages of preparing a catalogue raisonne of the oil paintings of Joseph Wright of Derby, to be published by the Paul Mellon Centre.

Rebecca Lyons is the Director of Collections & Learning at the Royal Academy with a remit covering the Collection, Library & Archive, Learning and Academic Programmes. For the last three years Rebecca has been Director of the Attingham Trust’s prestigious Royal Collection Studies for museum directors, curators, and art-world professionals based at Windsor Castle. She was Curator for the National Trust at Knole and Ightham Mote. Prior to this, Rebecca was Director of the Fine & Decorative Art MLitt and MA programmes at Christie’s Education, London/University of Glasgow where she taught for fifteen years. Rebecca sits on the steering committee for the Society for the History of Collecting and is chair of a large Academy Trust in East London. Educated at Oxford, the Courtauld, and Cambridge, Rebecca is the author most recently of an essay on 18th-century collector Welbore Ellis Agar for Getty Publications (2019) and a chapter for the Royal Collection exhibition catalogue George IV: Art and Spectacle (2019).

Will Iron is a cultural historian with interests in the fashion, art, and literature of the eighteenth century. He is Academic Programmes Manager at the Royal Academy of Arts, where he leads the ongoing series of art and cultural history courses, lectures, and academic conferences. Previously he worked at the British Fashion Council. He studied at Central Saint Martins and King’s College London.

Anne Lyles, an expert on British landscape painting, worked at Tate Britain for 25 years. Co-curator of the RA’s Late Constable exhibition, Anne also co-curated Constable: The Great Landscapes (Tate Britain and other venues, 2006–07) and Constable Portraits (National Portrait Gallery and Compton Verney, 2009), as well as advising on Constable and Brighton (Brighton Museum and Art Gallery, 2017).

Marcia Pointon is Professor Emerita in History of Art at the University of Manchester and Research Fellow at the Courtauld Institute of Art. She is author of Brilliant Effects: A Cultural History of Gem Stones and Jewellery (2009) and Rocks, Ice, and Dirty Stones: Diamond Histories (2017). Her work on portraiture has appeared in a wide number of scholarly journals over many years as well as in three monographs: Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England (1993, now available on open access on the YUP A&Ae portal), Strategies for Showing: Women, Possession, and Representation 1665–1800 (1997), and Portrayal and the Search for Identity (2013). Marcia is also author of a popular guide to art history for students, now in its fifth edition: History of Art: A Students’ Handbook.

S.I. Martin works with museums, archives, and the education sector to bring diverse histories to wider audiences. As a museums consultant and curator he has worked with and for the Black Cultural Archives, National Maritime Museum, the V&A, Tate Britain, London Metropolitan Archives, National Portrait Gallery, Horniman Museum, the National Archives, RAF Museum, Wellcome Trust, and others. He has published five books of historical fiction and non-fiction for adult and teenage readers.

Clare Brant is Professor of Eighteenth-Century Literature and Culture at King’s College London, where she co-directs the Centre for Life-Writing Research. Her most recent scholarly book is Balloon Madness: Flights of Imagination in Britain, 1783–1786 (2017). She has co-edited nine essay collections and published widely on eighteenth-century and contemporary subjects. She has a Leverhulme Major Research Award (2022–25) for a forthcoming book, Underwater Lives: Humans, Species, Oceans. Clare is also a poet; her fourth collection, Breathing Space, was published by Shoestring Press in 2020.

Jonny Yarker, a leading dealer in British art, has written extensively on British art of the eighteenth century and the Grand Tour in particular. He is currently working on a book-length study of the British community in Rome entitled Savage Pilgrims: Rome and the Grand Tour, 1750–1798.

Christo Kefalas is a cultural anthropologist and art history researcher. Since 2018, she has worked for the National Trust, currently as the Senior Curator of Global and Inclusive Histories. She leads on institutional advice for the care and display of collections originating outside of Europe, while also promoting the greater global connectivity of all Trust collections. Christo was an editor and author of the Interim Report on the Connections between Colonialism and Properties Now in the Care of the National Trust, Including Links with Historic Slavery (2020). Her PhD from the University of Oxford focused on 19th-century Māori artefacts and a photography collection at the Pitt Rivers Museum. Christo brings an anthropological perspective on history and diverse cultural experiences to her public curation practice, acknowledging the importance of identity and power in society. She has worked as a curator for collections at The British Museum, Great North Museum Newcastle, and the Horniman Museum, where she managed the curatorial delivery of the permanent World Cultures Gallery in South London.

PhD Opportunity | Women, Art Making, and the English Country House

Posted in graduate students, opportunities by Editor on April 8, 2022

Mirabel Jane Neville[?], mid-nineteenth-century watercolour of the Saloon at Audley End, Essex.

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From the project announcement:

‘Spaces of Femininity’: Making Art and Craft in the English Country House, c.1750–1900
AHRC Collaborative Doctoral Partnership
PhD Project supervised by Kate Retford and Peter Moore, starting 1 October 2022

Applications due by 9 May 2022

Birkbeck, University of London and English Heritage are pleased to announce the availability of a fully funded collaborative doctoral studentship, from October 2022. This is to undertake research into the artistic production of women in country houses in the later eighteenth and nineteenth centuries, using English Heritage properties as case studies. This PhD project will be jointly supervised by Professor Kate Retford (History of Art Department, Birkbeck) and Dr. Peter Moore (Curator of Collections and Interiors, Audley End and Wrest Park). The closing date is Monday, 9 May 2022, 5pm.

Country houses are full of ‘amateur’ art work—particularly the work of the wives and daughters who lived in them, and particularly from the later Georgian and Victorian periods when such practice flourished, and the commercial sector developed to support it (providing instruction manuals, materials, tutors etc). This ranges from drawings, etchings and watercolours through to objects such as containers crafted from shell work, panelled folding screens showcasing petit-point needlework and hand painted ceramics. The houses managed by English Heritage are no exception. The student will select case studies from amongst properties such as Audley End, Wrest Park, and Brodsworth, considering objects and interiors still at the houses, as well as material now in other public or private collections.

The student has the scope to develop both the topic and approach, in conjunction with the supervisors, but proposed research questions include:
1  What kinds of work did these women produce? In which genres and media did they work?
2  Why did they produce such work? A popular contemporary stereotype presented this as a genteel accomplishment, of particular value in the marriage market: does this hold up?
3  What did these women do with such work? Was it intended for display, whether in their own home or elsewhere? To what extent did this creative practice support familial and social networks through exchange of these objects?
4  What relationship did these women have with the ‘professional’ art world? What instruction manuals and other pedagogic literature did they consult? What commercially produced materials did they use? Who taught them, and how did tutoring work in practice? How did they engage with the organisations that provided training, prizes and opportunities for exhibiting work?
5  What can this work tell us about women’s historical experience? What can it tell us about their daily lives and personal relationships? What can it tell us about their relationships with their houses and landscapes?
6  What can this work tell us about the eighteenth- and nineteenth-century domestic interior? How did these objects relate to the décor and furnishings designed and created by professionals?

This studentship will provide the student with both invaluable academic skills and experience of working in the heritage sector. It will involve the student in a range of interdisciplinary research activities, drawing on archival and primary textual material and working closely with collections and interiors. In addition to preparing the PhD thesis, it is envisaged that the student will also be engaged in a range of related activities such as cataloguing and interpretation work, and to take the lead on a temporary display at Audley End. They will also be expected to play a full role in the research cultures of both institutions.

Additional information is available here»

 

5th Annual Ricciardi Prize from Master Drawings

Posted in opportunities by Editor on March 10, 2022

From Master Drawings:

Fifth Annual Ricciardi Prize from Master Drawings
Submissions due by 15 November 2022

George Romney, Lady Seated at a Table (recto); pen and brown ink, brush and brown wash (NY: The Metropolitan Museum of Art, 11.66.3).

Master Drawings is now accepting submissions for the Fifth Annual Ricciardi Prize for Young Scholars. The winner will receive a cash award of $5,000. The prize is given for the best new and unpublished article on drawings (of any period) by a scholar under the age of 40. The winning submission will be published in a 2023 issue of Master Drawings and will be featured at our annual symposium.

For additional information about essay requirements and how to apply, visit the Master Drawings website, where you can also learn about the broad range of research by past winners of the prize.

 

PhD Opportunity | The Material Culture of Saltram, 1725–1840

Posted in graduate students, opportunities by Editor on January 27, 2022

Saltram House, near Plymouth in Devon, England; in 1957 the house was donated by the Parker family to the National Trust (Photo: National Trust). More information is available here.

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From the project description:

Global Connections and Local Contexts: The Material Culture of Saltram, c.1725–1840
Applications due by 20 February 2022

The global links of country houses have attracted considerable attention in recent years, but the furore over colonialism has tended to overshadow the supply and materiality of global goods and the ways in which these artefacts were integrated into a wider array of goods of local and European provenance. Saltram, with its mix of British, European, and global objects, forms a perfect collection through which to explore these issues.

The project explores global-local interaction through the belongings and consumption practices of the Parker family in the period 1725–1840. Perhaps best known for its Robert Adam interiors and Reynolds paintings, Saltram also has a range of Asian objects, including Chinese wallpapers and porcelain, and items of high quality European furniture and porcelain, as well as a large collection of mahogany furniture made in British workshops. These combine with a varied archival collection that is especially rich in family correspondence.

The project seeks to entangle the global with the local by exploring the consumption practices and motivations of the Parker family. This will provide a better understanding of the significance of global goods as one part of the material culture of the country house, set within the context of locality, domestic space, and family relations, the broader influences of taste and fashion, and the commercial worlds of international trade and manufacturing.

The project is framed by four key research questions:
1. What was the origin of goods within the collection and what were the routes of supply through which they came to Saltram? This allows the shifting relative importance of global goods to be assessed and places the house at the centre of local, national, European and global networks of supply.
2. What were the material and behavioural contexts in which these things were displayed, used and consumed? This means: assessing where things were located in the house and garden, how were they used and by whom; and exploring the history of display.
3. How were individual and assemblages of objects linked to personal identity and how did they reflect and shape the character of the house? What motivations underpinned the consumption of these goods, and what meaning did they hold for their owners?
4. How can these tangled histories be related to visitors to include and engage local and diverse audiences? This involves understanding and evaluating audience expectations and engagement.

The student is encouraged to define their own doctoral research project within these broad parameters. The research results will inform a range of public-facing outputs at Saltram. Indeed, a core aim of the project is to identify ways to quickly embed new research findings into public programming and the student will work closely with the engagement as well as the curatorial team. The project thus has the potential to make an important contribution to how the National Trust at Saltram tells a greater variety of stories to more diverse audiences. The student will receive training from the curatorial and conservation team on object handling and the NT’s collections management system and from the engagement team on audience engagement and partnership working.

Candidate Requirements
In addition to our standard entry requirements, applicants should have:
• Masters in an appropriate discipline at merit or distinction OR equivalent experience working in the heritage sector
• Knowledge of the history/arthistory/heritage of the English country house
• Experience of undertaking research using archives or material objects
• Ability to work independently, as an effective part of a team, and with members of the public
• The student will need to be willing and able to travel between Manchester and Saltram

This opportunity includes fees funding plus an annual stipend at the Research Council minimum rate (set by UKRI), which for 2021/22 is £15,609 per annum for home and overseas applicants.

Interested applicants should contact are welcome to contact Professor Jon Stobart for an informal discussion. For application details, please consult the project description available as a PDF file here. The closing date is 20th February 2022.

Fellowships | Tyson Scholars in American Art, 2022–23

Posted in opportunities by Editor on November 21, 2021

From Crystal Bridges:

Tyson Scholars Program: Fellowships in American Art
Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2022–23

Applications due by 14 January 2022

The Tyson Scholars of American Art Program encourages and supports full-time interdisciplinary scholarship that seeks to expand boundaries and traditional categories of investigation into American art and visual and material culture from the colonial period to the present. The program was established in 2012 through a $5 million commitment from the Tyson family and Tyson Foods, Inc. Since its inception, the Tyson Scholars Program has supported the work of 57 scholars, attracting academic professionals in a variety of disciplines nationally and internationally.

Crystal Bridges and the Tyson Scholars Program invites PhD candidates (or equivalent), post-doctoral researchers, and senior scholars from any field who are researching American art to apply. Scholars may be focused on architecture, craft, material culture, performance art, and new media. We also invite applications from scholars approaching US art transregionally and looking at the broader geographical context of the Americas, especially including Latinx and Indigenous art. Applications will be evaluated on the originality and quality of the proposed research project and its contribution to a more equitable and inclusive history of American art.

The Tyson Scholars Program looks for research projects that will intersect meaningfully with the museum’s collections, library resources, architecture, grounds, curatorial expertise, programs and exhibitions; and/or the University of Arkansas faculty broadly; and applicants should speak to why residence in Northwest Arkansas and the surrounding areas will advance their work. The applicant’s academic standing, scholarly qualifications, and experience will be considered, as it informs the ability of the applicant to complete the proposed project. Letters of support are strongest when they demonstrate the applicant’s excellence, promise, originality, track record, and productivity as a scholar, not when the letter contains a commentary on the project.

Crystal Bridges is dedicated to an equitable, inclusive, and diverse cohort of fellows. We seek applicants who bring a critical perspective and understanding of the experiences of groups historically underrepresented in American art, and welcome applications from qualified persons of color; who are Indigenous; with disabilities; who are LGBTQ; first-generation college graduates; from low-income households; and who are veterans.

Fellowships are residential and support full-time writing and research for terms that range from six weeks to nine months. While in residence, Tyson Scholars have access to the art and library collections of Crystal Bridges as well as the library and archives at the University of Arkansas in nearby Fayetteville. Stipends vary depending on the duration of residency, position as senior scholar, post-doctoral scholar or pre-doctoral scholar, and range from $17,000 to $34,000 per semester, plus provided housing. The residency includes $1,500 for relocation, and additional research funds upon application. Scholars are provided workspace in the curatorial wing of the Crystal Bridges Library. The workspace is an enclosed area shared with other Tyson Scholars. Scholars are provided with basic office supplies, desk space, an office chair, space on a bookshelf, and a locking cabinet with key for personal belongings and files. Housing is provided within walking distance of the museum.

Further information about the Tyson Scholars Program, application instructions, and application portal can be found here. Applications for the 2022–2023 academic year open 1 November 2021 and close 14 January 2022.

Call for Proposals | IDEAL Internship Grants, Decorative Arts Trust

Posted in opportunities by Editor on October 26, 2021

From the press release:

IDEAL Internship Grants from the Decorative Arts Trust
Proposals due by 30 November 2021

The Decorative Arts Trust invites art museums, history museums, and historic sites to submit IDEAL Internship Grant proposals by 30 November 2021. The IDEAL Internship Initiative is part of the Trust’s growing Emerging Scholars Program. Non-profit institutions are eligible for IDEAL Internship Grants of up to $5,000.

IDEAL Internships focus on inclusivity, diversity, equity, access, and leadership. The Trust recognizes the homogeneity of the museum field and will strive to improve access to curatorial careers  for students of color as a path toward achieving systemic change. In early 2021, the Trust awarded the inaugural IDEAL Internship Grants to the Atwater Kent Collection at Drexel University; The Historic New Orleans Collection and the Backstreet Cultural Museum; the Museum of Fine Arts, Boston; and the Newport Restoration Foundation and the Rhode Island Black Heritage Society. More information about IDEAL Internship Grants is available here.

The Decorative Arts Trust is a non-profit organization that promotes and fosters the appreciation and study of the decorative arts through: exchanging information through domestic and international programming; collaborating and partnering with museums and preservation organizations; and underwriting internships, research grants, and scholarships for graduate students and young professionals. Learn more about the Trust here or by contacting thetrust@decorativeartstrust.org.

Decorative Arts Trust Announces Recipients of IDEAL Internship Grants

Posted in on site, opportunities, resources by Editor on March 17, 2021

Press release (9 March 2021) from The Decorative Arts Trust:

Samuel Whitehorne House (1811), Newport, Rhode Island. Newport Restoration Foundation bought the Federal period brick mansion in 1969. Five years later, it was opened as a public museum dedicated to 18th-century Newport furniture and related decorative arts.

The Decorative Arts Trust is pleased to announce that the Atwater Kent Collection at Drexel University; The Historic New Orleans Collection and the Backstreet Cultural Museum; the Museum of Fine Arts, Boston; and the Newport Restoration Foundation are the inaugural recipients of IDEAL Internship Grants.

Part of the Trust’s growing Emerging Scholars Program, IDEAL Internships focus on inclusivity, diversity, equity, access, and leadership. Internship grants are awarded to non-profit institutions and require a strong mentorship component.

“The Decorative Arts Trust is striving to improve access to curatorial careers for students of color as a path toward achieving systemic change,” Trust Executive Director Matthew Thurlow states. “These partners were selected based on the impact of the internship, which will offer students experience and stipends while providing the host organizations the opportunity to continue meaningful discussions about inclusion, diversity, and equity.”

Drexel University is stewarding the collection of the former Philadelphia History Museum at the Atwater Kent, which closed in 2018. Drexel’s Lenfest Center for Cultural Partnerships is conducting a multiyear evaluation of the Atwater Kent Collection of over 133,000 works of art and other objects. The intern will focus on exhibitions highlighting little-known objects for galleries at the Peck Alumni Center and the Pearlstein Gallery.

The Historic New Orleans Collection (THNOC), in partnership with the Backstreet Cultural Museum, seeks an intern to further the study and preservation of Mardi Gras Indian suits. The intern will catalog a newly acquired suit, document its history by interviewing the artist, plan a permanent storage solution, prepare the suit for display in an upcoming exhibition, and write an article for an online publication.

The Museum of Fine Arts, Boston intern will focus on a gallery reinstallation project that explores the connections between art, modern design, and jazz in the 1930s, 40s, and 50s. The intern will assist with object research, develop interpretive text, lead gallery tours, and host programs to engage a range of communities with the project.

The Newport Restoration Foundation will hire an intern to analyze their collection of 18th-century furniture at the Whitehorne House Museum. The intern will work with the interpretive staff to address the absences of African-Heritage craftspeople (both enslaved and free) as well as Narragansett peoples in Colonial-era Newport’s material culture.

The Decorative Arts Trust is a non-profit organization that promotes and fosters the appreciation and study of the decorative arts through exchanging information through domestic and international programming; collaborating and partnering with museums and preservation organizations; and underwriting internships, research grants, and scholarships for graduate students and young professionals. Learn more about the Trust at decorativeartstrust.org.

Call for Submissions | Horowitz Book Prize

Posted in opportunities by Editor on March 15, 2021

From Bard Graduate Center:

The Mr. and Mrs. Raymond J. Horowitz Book Prize
For titles on the decorative arts or material culture of the Americas published in 2019 or 2020

Submissions must be postmarked by 1 April 2021

Bard Graduate Center welcomes submissions for the Mr. and Mrs. Raymond J. Horowitz Book Prize, awarded annually to the best book on the decorative arts, design history, or material culture of the Americas. The prize will reward scholarly excellence and commitment to cross-disciplinary conversation. Eligible titles include monographs, exhibition catalogues, and collections of essays in any language, published in print or in digital format. The winning author(s) or editor(s) will be chosen by a committee of Bard Graduate Center faculty and will be honored with a symposium on the subject of the book. Submissions must have a 2019 or 2020 publication date.

Three copies of each print title should be sent to the below address along with an entry submission form. For digital publications, please email a copy of the form along with a link to the publication and a PDF of the publication to horowitz.prize@bgc.bard.edu.

Horowitz Book Prize Committee
Bard Graduate Center
38 West 86th Street
New York, NY 10024

Submissions must be postmarked by 1 April 2021. There is no limit to the number of submissions, but please note we are unable to return items submitted for review. Incomplete submissions will not be considered. Shipping is the responsibility of the applicant and we are not able to confirm receipt of submissions. The winning title will be announced in late summer 2021. For questions, contact Laura Minsky, Associate Director of Research Programs, at horowitz.prize@bgc.bard.edu.

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