JOB: Database Manager / Leitung kunstwissenschaftliche Datenbank, SIK-ISEA, Zuerich

Leiterin / Leiter kunstwissenschaftliche Datenbank (80%)

Application deadline: Oct 30, 2018

Das 1951 gegründete Schweizerische Institut für Kunstwissenschaft (SIK-ISEA) ist ein kunstwissenschaftliches und kunsttechnologisches Kompetenzzentrum von internationalem Rang. Schwerpunkte seiner Aktivitäten sind Forschung, Dokumentation, Wissensvermittlung und Dienstleistung im Bereich der bildenden Kunst. Kerngebiet bildet das Kunstschaffen in der Schweiz vom Mittelalter bis zur Gegenwart.

SIK-ISEA unterhält eine umfangreiche relationale Datenbank (Oracle 12c) mit Einträgen zu Personen, Kunstwerken, Ausstellungen, Literatur und Dokumenten, die auch im Internet publiziert werden (beispielsweise auf www.sikart.ch, www.niklaus-manuel.ch).

Per 1. Dezember 2018 oder nach Vereinbarung sucht SIK-ISEA eine / einen

Leiterin / Leiter kunstwissenschaftliche Datenbank (80%)

Für die Besetzung dieser verantwortungsvollen Stelle suchen wir eine qualifizierte Person aus dem Bereich der Geistes- und Kulturwissenschaften (Digital Humanities) mit profunden Kenntnissen der Programmierung und Modellierung relationaler Datenbanken (Oracle, PL/SQL). Erwünscht sind zudem Erfahrungen im Bereich des Semantic Web (CIDOC CRM, LOD).

Zu Ihren Kernaufgaben gehören:

  • Verantwortung des Betriebs der Oracle-Datenbank
  • Leitung und Unterstützung eines Teams von drei Informatiker/innen
  • Strukturierung kunstwissenschaftlichen Wissens
  • Konzeption und Umsetzung neuer Datenstrukturen und Webanwendungen mit internen und externen Ansprechpartnern
  • Koordination datenbankgestützter Prozesse verschiedener Projekte von SIK-ISEA
  • Fachlicher Austausch an Tagungen und Workshops
  • Gute Deutschkenntnisse und die Fähigkeit, auch in englischer oder französischer Sprache zu kommunizieren, runden Ihr Profil ab.

Wir bieten fortschrittliche Sozialleistungen, ein angenehmes Arbeitsklima, flexible Arbeitszeiten sowie einen Arbeitsplatz in einmaliger Umgebung mitten in Zürich.

Bitte richten Sie Ihre Bewerbung bis 30. Oktober 2018 mit den üblichen Unterlagen und ggfs. Gehaltsvorstellungen per E-Mail mit dem Vermerk „Datenbankleitung“ an: matthias.oberli@sik-isea.ch

Für weitere Auskünfte kontaktieren Sie bitte lic. phil. Michael Egli, Leiter Datenbanken SIK-ISEA: michael.egli@sik-isea.ch / T. 044 388 51 20 oder Dr. Matthias Oberli, Abteilungsleiter Kunstdokumentation: matthias.oberli@sik-isea.ch / T. 044 388 51 86.

Reference: JOB: Leitung kunstwissenschaftliche Datenbank, SIK-ISEA, Zürich. In: ArtHist.net, Sep 21, 2018. <https://arthist.net/archive/18988>.

JOB: Kindler Family Assistant Professor in Global Contemporary Art, Hamilton Colgate University

Kindler Family Assistant Professor in Global Contemporary Art – Colgate University

The Art and Art History department at Colgate University invites applications for a tenure-stream position as the “Kindler Family Assistant Professor in Global Contemporary Art”, beginning fall semester 2019. Salary commensurate with teaching experience and publications. This is a generously endowed position that comes with an enhanced research fund at the assistant level. In addition to courses in their regional, cultural, or otherwise defined area of expertise, the historian of Global Contemporary Art will teach undergraduate courses in transnational, global, or cross-cultural approaches to contemporary art and art institutions in a combined art history and studio department. In the annual five-course load, regular teaching contributions will include courses on global contemporary art up to the present day, as well as other electives of the successful candidate’s own design. Responsibilities also include senior thesis advising. The successful candidate will also be expected to participate in all-university programs, including the Liberal Arts Core Curriculum. An interest in contributing to our new program in Museum Studies is also welcome. Letter of application, c.v., and three current letters of recommendation must be submitted through https://academicjobsonline.org/ajo/jobs/11538.

Colgate strives to be a community supportive of diverse perspectives and identities. Candidates should describe in their application how their approach to teaching might create an inclusive educational environment.

Review of applications will begin October 15, 2018, and will continue until the position is filled. Applicants with dual-career considerations can find postings of other employment opportunities at Colgate and at other institutions of higher education in upstate New York at www.upstatenyherc.org.

It is the policy of Colgate University not to discriminate against any employee or applicant for employment on the basis of their race, color, creed, religion, age, sex, pregnancy, national origin, marital status, disability, protected Veterans status, sexual orientation and gender identity and expression, genetic information, victims of domestic violence and stalking, familial status, and all other categories covered by law. Colgate University is an Equal Opportunity/Affirmative Action employer.Candidates from historically underrepresented groups, women, persons with disabilities, and protected veterans are encouraged to apply.

Colgate is a highly selective liberal arts university of 2900 students situated in central New York state. Colgate faculty are committed to excellence in both teaching and scholarship. Further information about the Art and Art History department can be found at http://www.colgate.edu/academics/departments-and-programs/art-and-art-history

Reference: JOB: Kindler Family Assistant Professor in Global Contemporary Art, Hamilton. In: ArtHist.net, Sep 24, 2018. <https://arthist.net/archive/19015>.

CFP: Le musee comme terrain (Paris, 20 Nov 18)

Paris (EHESS/ENS)
November 20, 2018 – June 11, 2019

Deadline: Oct 7, 2018

En 2018-2019, un atelier doctoral portant sur Le musée comme terrain: stratifications des héritages coloniaux, sera proposé en lien avec le séminaire EHESS-ENS Réécrire le passé colonial : enjeux contemporains des collections de musée, afin de saisir de façon concrète la nature des collections dans leur dimension matérielle.

En travaillant avec la notion de biographie des objets et des collections, on interrogera le musée sur ce qu’il peut nous apprendre de « la vie sociale » des ensembles collectés en contexte colonial entre la fin du XIXe et la première moitié du XXe siècle. Cette recherche visera à appréhender, dans leurs complexités et leurs contradictions, des fonds qui constituent les traces matérielles des héritages coloniaux dans différents musées français et allemands. Chaque séance se déroulera dans une institution différente, musée ou archive, et la recherche sera organisée en collaboration avec un-e conservateur/trice du musée, un-e commissaire d’exposition, un(e) artiste ou un(e) archiviste. En s’invitant dans les coulisses de l’institution, il s’agit d’observer les différentes pratiques des professionnels du musée (classement, restauration, présentation), d’analyser en somme les processus de patrimonialisation des objets. En effet, l’anthropologie du musée vise à démêler et à transmettre les multiples épistémès qu’il recouvre et au sein desquels les objets prennent sens. Les visites organisées dans les musées donneront lieu à des études de cas approfondies qui permettront de valider l’atelier.

L’atelier s’inscrit dans l’axe « Anthropologie des héritages coloniaux » du Centre Maurice Halbwachs, CMH (CNRS, École des Hautes Études en Sciences Sociales de Paris, ENS/ PSL Research University). D’autres institutions et projets sont associées à l’atelier: le Département d’histoire de l’art de l’Université Paris 1 Panthéon-Sorbonne, le Département d’Arts Plastiques de l’Université Paris 8 Vincennes Saint Denis, le Département de sciences sociales de l’Ecole normale supérieure, Humboldt-Universität zu Berlin (The Centre for Anthropological Research on Museums and Heritage), la Technishe Universität de Berlin, l’Université Paris Lumières pour le projet Glissements de terrain. Les collections muséales réinvesties par le champ de l’art contemporain (2017-2018) et l’Ecole des Chartes.

Il débutera le 20 novembre 2018 avec un atelier de travail dans les archives photographiques du Musée du Quai Branly – Jacques Chirac et sera ouvert à un nombre limité de doctorant.e.s.

Les doctorant.e.s intéressé.e.s doivent envoyer une courte présentation de leur recherche doctorale (max. 3 pages) et un CV, avant le 7 octobre, via email : reecrirelepasse@gmail.com et heritage.doctoralschool@gmail.com

Page facebook de l’atelier: https://www.facebook.com/events/903448683179624/

Equipe de l’atelier:

Felicity Bodenstein, postdoctorante Technische Universität, Berlin
Benoît de L’Estoile, directeur de recherche au CNRS, professeur à l’ENS
Damiana Otoiu, maître de conférences à l’Université de Bucarest
Dominique Poulot, professeur à l’Université Paris 1 Panthéon-Sorbonne
Laurella Rincon, conservatrice du patrimoine au ministère de la Culture/École normale supérieure
Anna Seiderer, maître de conférences à l’Université Paris 8 Vincennes-Saint-Denis
Nathan Schlanger, professeur à l’École nationale des Chartes
Margareta Von Oswald, doctorante à l’EHESS

Reference: CFP: Le musée comme terrain (Paris, 20 Nov 18). In: ArtHist.net, Sep 24, 2018. <https://arthist.net/archive/19020>.

Apply Now: German/American Provenance Research Exchange Program (PREP) 2019

 Call for Applications

The application deadline has been pushed to October 14 for the 2019 leg of Provenance Research Exchange Program (PREP), which gathers Museums Professionals in the USA and Germany.

The attachment contains information about the Program and a link to the application for 2019 — which will be its third and last year.

PREP is a unique program that was created to think strategically and collaboratively about Holocaust-era provenance research, and to foster transatlantic networking.

The Program was hosted by The Met and the Berlin State Museums in 2017; the 2018 participants went to the Getty Research Institute in February and will meet again in Munich in October, where PREP will be hosted by the Zentralinstitut für Kunstgeschichte.

In 2019, the new cohort of PREP participants will be hosted by the Dresden State Art Collections in the spring, and the Smithsonian Institution in DC in the fall.

For both week-long trips (Dresden and Washington DC), participants’ flight, room and board are covered by a German Government grant funded by the German Program for Transatlantic Encounters.

The organizing and partnering institutions of the German/American Provenance Research Exchange Program (PREP) for Museum Professionals, 2017-2019, announce the third and final year of the interdisciplinary exchange program for German and US museum professionals engaged with Nazi-era art provenance research—curators, collections managers, archivists, researchers, lawyers, and IT experts museum professionals—to consider how best to facilitate and collaborate on international research projects, and increase the transparency of its resources and results.

This year, the third and final of PREP’s program, will feature two Exchanges:

  • PREP-Dresden Exchange, hosted by the Dresden State Art Museums (March 17-22, 2019)
  • PREP-Washington, DC Exchange, hosted by the Smithsonian Institution (October 20-26, 2019)

Applications for 2019  will be open through September 28, 2019.  The program will cover travel, lodging, and meals for the 21 applicants whom PREP’s steering committee will select to participate in both Exchanges. Selection announcements will go out mid-November 2018.

PREP is co-organized by the Smithsonian Institution and the Stiftung Preußischer Kulturbesitz (Prussian Cultural Heritage Foundation/Berlin State Museums). Its five partner institutions are the Metropolitan Museum of Art in New York, The Getty Research Institute in LA, the Dresden State Art Collections, the Zentralinstitut für Kunstgeschichte (ZI) in Munich, and the German Center for Lost Art in Magdeburg.

PREP launched in 2017 with the 1st Exchange at the Met in New York, and the corresponding, 2nd Exchange was at the Berlin State Museums. The 3rd Exchange was at the Getty Research Institute in LA., and the 4th PREP Exchange will be at the Central Institute for Art History (ZI) in Munich, October 8-12, 2019.

Major support for PREP comes through a German government grant funded by the German Program for Transatlantic Encounters, with additional financial support from Germany’s Federal Commission for Culture and Media, the program’s six key partners, and the Smithsonian Women’s Committee.

For questions about the German/American Provenance Research Exchange Program or the application process, please contact provenance@si.edu or PREP@hv.spk-berlin.de

CONF: Art Market and Money Laundering (FIT NYC, Oct 12, 2018)

This symposium, “The Art Market and Money Laundering,” brings together notable experts from law enforcement, the art industry, academia, and financial crimes compliance to engage in a robust discussion on the current state of the art market and laundering, and how more effectively to uncover, deter, and punish laundering while minimizing costs to the industry.

The art market is notoriously opaque and unregulated, which makes it particularly vulnerable to this kind of illicit activity. Dirty money, disguised as capital gains on the sale of sale of one or more assets, is laundered by undervaluing art at purchase or overvaluing it at sale, making it difficult for financial institutions or law enforcement to find out. Transferring the value of the criminal proceeds is then implemented by simply transferring ownership of the asset.

International standards promulgated by the Financial Action Task Force have been adopted as domestic law by nearly every country of the world, with banks, broker-dealers, payment agencies and other businesses subject to required preventative measures to prevent and uncover money laundering.

Should these same preventive measures apply to art dealers and other participants in the art market? Legislation proposed in the US House of Representatives would do so. Would it work? Or would it prove onerous and ineffective, as some art market players have claimed? Are there other solutions to be found, for instance through self-regulation or blockchain technology? Continue reading “CONF: Art Market and Money Laundering (FIT NYC, Oct 12, 2018)”

Event TODAY: The Gallerists (NYC, 25 Sept, 7pm)

Tuesday, September 25, 7:00 PM
Free and open to the public

Hunter College MFA Program Flex Space, Room 200
205 Hudson Street
New York, NY 10013

The Gallerists: A panel discussion on the intimate relationships and histories between gallerists and artists.

With Margaret Liu Clinton (Koenig & Clinton), Michael Findlay (Acquavella Galleries), and Fredericka Hunter (Texas Gallery and the Robert Rauschenberg Foundation).

Moderated by Carrie Moyer

For more information on programming, please visit:
http://www.205hudsongallery.org/events/

EVENT TODAY: Visit to the Robert Rauschenberg Foundation (21 Sept 2018)

TIAMSA-NY Visit to the Robert Rauschenberg Foundation

Date and Time: Friday, September 21, 2:00 – 3:30pm

Location: 381 Lafayette St. (between Great Jones St. and E. 4th St.), New York, NY

Rauschenberg, Julie Martin, Captiva, Florida, 1978. Photo attributed to Billy Klüver.

Please join us for a walk through of the Robert Rauschenberg Foundation, where we will visit the foundation’s gallery, Rauschenberg’s former studio and living areas, and portions of the foundation offices. Our tour will be led by Francine Snyder, Director of Archives and Scholarship, and Julia Blaut, Curator and Director of Curatorial Affairs. Topics to be discussed will include the activities of the foundation and its exhibition and archives programs.

Please RSVP if you are able to attend: natasha_degen@fitnyc.edu