Jones was formerly the Director of Programming at the Bryce Wolkowitz Gallery in New York, NY. Prior to this, Jones held a combined curatorial and conservation position at the Solomon R. Guggenheim Museum. She co-curated the groundbreaking exhibition Seeing Double: Emulation in Theory and Practice and coordinated the Deutsche Guggenheim exhibition, Nam June Paik: Global Groove 2004. As a key member of the Variable Media Network, Caitlin has also been responsible for developing important tools and policy for the preservation of electronic and ephemeral artworks. Her writings on new media art presentation and preservation have appeared in a wide range of catalogs and international publications.
BIO
Meet the Olivers
For the past five months Seattle's Oliver family (Carol, Mike, Nigel, Pete, Syd, and Mary) have been diligently working to complete all sixty-three of the assignments set out in Harrell Fletcher and Miranda July's popular web project Learning to Love You More. The fruits of their labor were installed this weekend at the annual Seattle art and music festival, Bumbershoot, and can be seen in their entirety at LTLYM. Their own blog, Learning to Love Ourselves More, goes beyond the final products and documents their process from beginning to end--including the distribution of assignments, trips to the art supply store, and the personal negotiations and judgments on each other's work. LTLOM is a testament to the strength of Fletcher and July's original concept and the Olivers' actualization of the site's enthusiasm and involvement points emphatically to the transformative and inclusionary potential of the web.
Ujino and The Rotators
This week Vancouver's Western Front will open Tokyo-based artist and musician Ujino Muneteru's first solo show in North America. The large-scale installation highlights Muneteru's latest project, The Rotators, a band consisting of instruments the artist constructs from everyday household items such as blenders, hair dryers, pots and pans, and turntables--all driven by the artist's custom control system, Rotatorhead. Influenced by dance music and culture, Muneteru's multi-faceted practice has roots in the performative tendencies of the Futurists, Dada, and the likes of John Cage and Nam June Paik. The exhibition opens September 6th with a live performance of Ujino and the Rotators. There will also be an instrument-building workshop led by the artist on September 5th and an artist talk on September 8th.
Exhibitions Curator
Deadline:
Mon Oct 31, 2011 04:00
Location:
Vancouver,
Canada
Organization: Western Front Society
Job Title: Exhibitions Curator
Position Type: Full-time contract, 35 hours/week
Location: Vancouver, British Columbia
Salary: $31,000/year
Years Experience: 3+
DESCRIPTION
The Western Front Society seeks an outstanding, highly motivated arts professional to step into the role of Exhibitions Curator.
The Western Front is one of Canada’s pioneering artist-run centres and produces and presents works in five programs: Exhibitions, Performance Art, New Music, Media Arts, and FRONT Magazine. The Western Front was founded in 1973 by a small group of interdisciplinary artists, and has developed into an exemplary multi-disciplinary environment for experimental art practice and research. With a staff of ten plus interns and volunteers, the Society collectively produces over fifty events a year.
The Exhibitions Program has a mandate to present contemporary visual art by local, national and international artists. Intentionally open, this mandate has historically focused on artwork that is conceptual, media-based or otherwise ephemeral in nature. Currently the program promotes experimentation with conceptual models and contexts for visual art that have allowed the program to expand beyond gallery exhibitions to include artist books and posters, cross-disciplinary works, site-specific and Internet projects, and commissions.
RESPONSIBILITIES
The Exhibitions Curator reports to the Executive Director, and is responsible for:
• Developing and communicating a dynamic vision for the Exhibitions Program
• Curating exhibitions and all associated programming
• Editing publications
• Writing grants and seeking opportunities for additional funding or support
• Supervising one part-time staff member, contract workers, as well as volunteers
QUALIFICATIONS
• Exemplary knowledge and understanding of contemporary art practices
• Excellent written and verbal communication skills
• Proven financial management experience
• Strong organizational skills
• Ability to provide direction and work with a diverse staff
• High capacity to meet deadlines and work under pressure
• Knowledge of a broad range of issues related to the arts
• A clear understanding of the philosophy and history of the Canadian artist-run centre movement
• Knowledge of the principle funding agencies and prior grant writing experience
• Knowledge of managing publications and print projects
• Experience installing a variety of art exhibitions
• Mac OS, Microsoft Office, electronic mail and Filemaker Pro, an asset
BENEFITS
A competitive benefits package is available after the three months probation period is complete. After eight months of employment, four weeks paid vacation may be taken during the period when programs are recessed. An additional ten days paid holiday time may be taken during the December/January holiday period.
A part-time Exhibitions Assistant supports this position. Provisions are also made within the program budget for research-based travel.
HOW TO APPLY
The Western Front Society is committed to the principles of Employment Equity and encourages applications from Aboriginal persons, members of a visible minority group or persons with a disability.
Applications containing a cover letter, curriculum vitae, three references, and writing samples, must be received by 4:00 p.m. on December 14, 2009.
Please send applications by email only to:
Exhibitions Curator Hiring Committee
Email: admin@front.bc.ca
Western Front Society
303 East 8th Avenue
Vancouver, BC V5T 1S1
www.front.bc.ca
NO PHONE CALLS PLEASE. Only candidates selected for an interview will be contacted.
Job Title: Exhibitions Curator
Position Type: Full-time contract, 35 hours/week
Location: Vancouver, British Columbia
Salary: $31,000/year
Years Experience: 3+
DESCRIPTION
The Western Front Society seeks an outstanding, highly motivated arts professional to step into the role of Exhibitions Curator.
The Western Front is one of Canada’s pioneering artist-run centres and produces and presents works in five programs: Exhibitions, Performance Art, New Music, Media Arts, and FRONT Magazine. The Western Front was founded in 1973 by a small group of interdisciplinary artists, and has developed into an exemplary multi-disciplinary environment for experimental art practice and research. With a staff of ten plus interns and volunteers, the Society collectively produces over fifty events a year.
The Exhibitions Program has a mandate to present contemporary visual art by local, national and international artists. Intentionally open, this mandate has historically focused on artwork that is conceptual, media-based or otherwise ephemeral in nature. Currently the program promotes experimentation with conceptual models and contexts for visual art that have allowed the program to expand beyond gallery exhibitions to include artist books and posters, cross-disciplinary works, site-specific and Internet projects, and commissions.
RESPONSIBILITIES
The Exhibitions Curator reports to the Executive Director, and is responsible for:
• Developing and communicating a dynamic vision for the Exhibitions Program
• Curating exhibitions and all associated programming
• Editing publications
• Writing grants and seeking opportunities for additional funding or support
• Supervising one part-time staff member, contract workers, as well as volunteers
QUALIFICATIONS
• Exemplary knowledge and understanding of contemporary art practices
• Excellent written and verbal communication skills
• Proven financial management experience
• Strong organizational skills
• Ability to provide direction and work with a diverse staff
• High capacity to meet deadlines and work under pressure
• Knowledge of a broad range of issues related to the arts
• A clear understanding of the philosophy and history of the Canadian artist-run centre movement
• Knowledge of the principle funding agencies and prior grant writing experience
• Knowledge of managing publications and print projects
• Experience installing a variety of art exhibitions
• Mac OS, Microsoft Office, electronic mail and Filemaker Pro, an asset
BENEFITS
A competitive benefits package is available after the three months probation period is complete. After eight months of employment, four weeks paid vacation may be taken during the period when programs are recessed. An additional ten days paid holiday time may be taken during the December/January holiday period.
A part-time Exhibitions Assistant supports this position. Provisions are also made within the program budget for research-based travel.
HOW TO APPLY
The Western Front Society is committed to the principles of Employment Equity and encourages applications from Aboriginal persons, members of a visible minority group or persons with a disability.
Applications containing a cover letter, curriculum vitae, three references, and writing samples, must be received by 4:00 p.m. on December 14, 2009.
Please send applications by email only to:
Exhibitions Curator Hiring Committee
Email: admin@front.bc.ca
Western Front Society
303 East 8th Avenue
Vancouver, BC V5T 1S1
www.front.bc.ca
NO PHONE CALLS PLEASE. Only candidates selected for an interview will be contacted.
epic net art
Just to be clear, I have never once suggested that market success is a good barometer of artistic success. I was responding simply to the assertions (somewhere earlier on in the 1.0 v. 2.0 discussion - and maybe we should move this discussion back there, rather than embedded in this epic art thread) that the institution and the 'art world' have embraced the 3rd generation of net artists more than the earlier generation. I almost didn't include that ps. as I don't want the discussion to go back to this 'art market' thread.
That said...
Therefore, not a distraction at all. I think it's a good barometer of where many of the artists (that I see in Chicago, Brussels, San Fran, and elsewhere) are pointing their vector of effort. To me, this shows me what is being "seen as important", when only 40 years ago, media art was still in a mode of challenging the galley and the object itself. This is a major shift...
While I agree with you Patrick that artists are directing efforts towards marketability, I certainly don't see it as a major shift. I think many Internet Artists who are gearing a part of their practice towards the institution/gallery setting, still create work that disrupts and challenges that system. And, I'm sorry, maybe my perspective as the one time programing director for a chelsea gallery that played a role in bringing some first generation net artists into the commercial sphere, but I just don't see this as a problem. I certainly see it as a trend to follow with interest, but don't see it as a whole hearted conversion to 'art world traditionalism.'
cj
That said...
Therefore, not a distraction at all. I think it's a good barometer of where many of the artists (that I see in Chicago, Brussels, San Fran, and elsewhere) are pointing their vector of effort. To me, this shows me what is being "seen as important", when only 40 years ago, media art was still in a mode of challenging the galley and the object itself. This is a major shift...
While I agree with you Patrick that artists are directing efforts towards marketability, I certainly don't see it as a major shift. I think many Internet Artists who are gearing a part of their practice towards the institution/gallery setting, still create work that disrupts and challenges that system. And, I'm sorry, maybe my perspective as the one time programing director for a chelsea gallery that played a role in bringing some first generation net artists into the commercial sphere, but I just don't see this as a problem. I certainly see it as a trend to follow with interest, but don't see it as a whole hearted conversion to 'art world traditionalism.'
cj
epic net art
I think maybe I'm being called out here. So finally, after weeks of lurking I'll respond.
First off. Yes. the ongoing snark/sarcasm/animosity between tom, tim and mriver is super/totally/unbelievably "boring."
Secondly. And this is somewhat off topic on this particular string, but I think this entire net.art 1.0 v. net.art 2.0 conversation is, while not exactly boring, maybe a red herring. To be very simplistic about it, I don't really perceive much theoretical distance between the work of 'the old guard' and the work of the current "3rd generation" net artists. I think both were/are responding to the web as it existed at the time. In the late 1990s people wrote their own html, they 'view(ed) source,' and things were for the most part text based. And the art of the time responded accordingly, creating work about language, translation and disrupting the emerging systems that the general public was so quick to accept unconditionally.
Now, the web has obviously evolved into the web 2.0 (and all that comes with it). You don't need to code to be an internet artist because no one really needs to code to use the web anymore. You just need a myspace or facebook page, access to youtube or flickr, or a blogger address and you are 'actively' participating in the web (obviously a lot of people have written about the deeper implications of this type of migration - notably Olia in her Vernacular Web 2) http://www.contemporary-home-computing.org/vernacular-web-2/). So if internet artists are now making work that is a collection of links, a series of other people's youtube videos? Fantastic. As far as I can tell most of this work is doing so as a means to question the ease with which we are living our most intimate moments online.
The web is a different place, and so obviously the art that comes out of it is going to be different. But I think, at its very core, it is the same. Internet Art responds to the web, its development, and how we use it, regardless of whether it was made by MTAA or Guthrie Lonergan. Like I said, very simplistic, and not a fully formed argument at this point, but I think looking at why this work is so different is far less interesting than exploring its shared characteristics.
Caitlin
ps. This is just an aside. All the muttering about the 'newer generation' of Internet artists having more gallery success is also a bit of a distraction. I guarantee that Vuk, Olia, Thomson and Craighead alone have sold/exhibited more work in the past three years than all of the newer generation put together.
First off. Yes. the ongoing snark/sarcasm/animosity between tom, tim and mriver is super/totally/unbelievably "boring."
Secondly. And this is somewhat off topic on this particular string, but I think this entire net.art 1.0 v. net.art 2.0 conversation is, while not exactly boring, maybe a red herring. To be very simplistic about it, I don't really perceive much theoretical distance between the work of 'the old guard' and the work of the current "3rd generation" net artists. I think both were/are responding to the web as it existed at the time. In the late 1990s people wrote their own html, they 'view(ed) source,' and things were for the most part text based. And the art of the time responded accordingly, creating work about language, translation and disrupting the emerging systems that the general public was so quick to accept unconditionally.
Now, the web has obviously evolved into the web 2.0 (and all that comes with it). You don't need to code to be an internet artist because no one really needs to code to use the web anymore. You just need a myspace or facebook page, access to youtube or flickr, or a blogger address and you are 'actively' participating in the web (obviously a lot of people have written about the deeper implications of this type of migration - notably Olia in her Vernacular Web 2) http://www.contemporary-home-computing.org/vernacular-web-2/). So if internet artists are now making work that is a collection of links, a series of other people's youtube videos? Fantastic. As far as I can tell most of this work is doing so as a means to question the ease with which we are living our most intimate moments online.
The web is a different place, and so obviously the art that comes out of it is going to be different. But I think, at its very core, it is the same. Internet Art responds to the web, its development, and how we use it, regardless of whether it was made by MTAA or Guthrie Lonergan. Like I said, very simplistic, and not a fully formed argument at this point, but I think looking at why this work is so different is far less interesting than exploring its shared characteristics.
Caitlin
ps. This is just an aside. All the muttering about the 'newer generation' of Internet artists having more gallery success is also a bit of a distraction. I guarantee that Vuk, Olia, Thomson and Craighead alone have sold/exhibited more work in the past three years than all of the newer generation put together.
