Tampa Museum Of Art Studio Program Director

#Tampa Museum Of Art Studio Program Director Series And Other
#Tampa Museum Of Art Studio Program Director Install Exhibitions And

Tampa Museum Of Art Studio Program Director Series And Other

The curator of exhibitions must also write interpretive and critical essays that stimulate the viewer and enrich the experience of viewing the exhibition.Job requirements for curators today may also include grant writing, fundraising, donor relations, teaching, organization of symposia, lecture series and other educational programs. The exhibitions and related programs are diverse in mediums, themes and represent a broad range of art practices.Curating is an intellectual/scholarly process that requires a deep understanding of contemporary art (or other subject areas) within the complex social and cultural situations that exist today as well as a thorough understanding of art history. My core value and focus as director of the Contemporary Art Museum at USF continues to be to present a program of temporary exhibitions and related educational programs that introduce our students and broader community to advanced international contemporary art.

We are the stewards of art objects and responsible for both their preservation and presentation, which includes providing context for their display. Recently the use of social media has become one important avenue for engaging audiences prior to their visit, during their visit and after.Noel Smith, USF: A curator looks, studies, proposes, selects, arranges and explains.Katherine Pill, MFA: At the most basic level, a curator cares for artworks. Our curators must continually innovate and evaluate various strategies to engage audiences. For the USF Contemporary Art Museum we want to build our audiences to include students studying in all fields and reach the broader Tampa Bay communities with thoughtful and engaging projects. Today museums must continually evaluate their role.

After that comes the more visible part of my role, which is to research and interpret the collection. This means different things in different contexts, but at an art museum like this one my job is first to be sure the collection is safe, both on display and in storage. I see the curator as a conduit.Seth Pevnick, TMA: A curator's primary job is to care for a collection, whether of art or anything else.

Curators make connections between artworks in order to communicate ideas about art. This process provides context and perspective and, when done well, it creates a dialogue between the viewer and the work. I also spend time working on publications, lectures, and other public programs, which can relate to the artwork on view, in our permanent collection and in other collections around the world.Sarah Howard, USF: A curator researches and presents art within a specific time and space.

This was followed by my first solo curatorial project in 1976, a painting exhibition titled 'The Figure as Form.' Over the years, I have collaborated with other curators and curated many exhibitions. I assisted him in curating an exhibition titled 'City and the Machine' in 1974 for the Museum of Fine Arts in St. I decided that this was the most interesting way for me to contribute, as I was not interested in publishing as an art historian and I was not an artist.My first curatorial project was with USF professor Bradley Nickels. They should cultivate research and interpretation of the collection, maintain a Collections Plan to serve a variety of purposes from donor cultivation to collection's evaluation, vision for a collection's growth, conservation care and assessment, and they probably serve as the senior administrative person within the curatorial department of their institution.Miller: I started curating in the early 70's without really any formal training. They are responsible for the growth and development of their institution's permanent collection(s).

Tampa Museum Of Art Studio Program Director Install Exhibitions And

We did some stories together, and eventually I was on the masthead as CL's art critic. A while later, I met with Paul Wilborn, and when I told him about my background in the arts and interest in writing, he suggested pitching a story to David Warner, who was the then-new editor of Creative Loafing. In 2004, I moved back to Tampa Bay from New York to be closer to my family. When the position at USFCAM became available, it seemed like a great opportunity to work with a vital, young collection and yet it felt like work I had always done, so I tossed my hat into the ring.Voeller: I was very interested in becoming a curator or an art critic as an undergrad, but I had no idea how to go about it. In humanities, art history and museum studies.Foe: To a large extent, I put myself through school working in a gallery environment вЂ” helping to install exhibitions and manage the care of the objects associated with those exhibitions.After graduation I started my own business documenting art and providing collection care to private collectors. My interest in art led me to seeking an M.

Curating was nothing I set out to do, but it has become a logical extension of my interests вЂ” especially in Cuban and Latin American art вЂ” and something I could contribute to our programming. When Graphicstudio and the Contemporary Art Museum merged, director Margaret Miller offered me the opportunity to curate an exhibition. I started as an education curator, concerned with facilitating visitor experiences of art, much as a critic does then I became interested in being involved in the process from an earlier point and conceiving exhibitions.Smith: Fresh from earning an art history master's degree at USF, I was hired at Graphicstudio largely because I speak Spanish, and I started working to bring Latin American artists to the studio and doing related educational programming.

It probably wasn't until seeing an installation at MoMA, however, curated by the architects Heurzog + de Meroun, that I really considered the role of the curator. I planned on becoming a writer of some kind, but in undergrad I started to take some art history classes and quickly realized that I wanted to continue that line of study. In my work at CAM, I've seen that art's humanity can bridge the divides of language and politics.Pill: I became interested in the theory and potential function of art while in high school, obsessed with Bertolt Brecht. Cuban art has become my specialty, and at this particular moment in history, when our country and Cuba are finally officially speaking, I am very excited and moved to be a small part of the long process of reconciliation. I love the collaboration with every member of the museum team, from start to finish, and it's fun to share art I respect, and my discoveries and ideas, with an audience.In my first years at Graphicstudio, I was able to travel to Cuba and immediately fell in love with the island, the people and their art.

Growing up, I made a lot of my own artwork, but decided when I went to college that I was not going to pursue a career as an artist. The city's long history of apartment galleries and artist-run spaces is incredibly powerful.Pevnick: I have always been interested in art, since I was a small child. I was drawn to the program for its combination of theory and administration, and living in Chicago was an invaluable experience. It made me appreciate the placement of artworks in a way I hadn't considered before.I went to graduate school at the School of the Art Institute of Chicago with the aim of becoming a curator, completing a dual MA in art history and arts administration.