Museum Studies at Tufts University

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Month: March 2012 (page 1 of 4)

Sotheby’s Institute of Art 2012 Summer Study Courses

From the source:
2012 Summer Study Courses
Starting in June & July in New York Open for Enrollment

Summer Study in New York includes 4-week, 2-week and 1-week courses in June and July that allow students to develop professional expertise, critical thinking skills, and enhanced knowledge of art and the international art market. The in-depth courses offer interesting and compelling insights into the art world and include lectures, guest speaker interviews, and site visits led by Sotheby’s Institute of Art faculty and leading practitioners in the field.

For more information and to reserve your place, visit our website:


Being a Curator in the 21st Century
Dates: June 4–28
Time: 10:00am–12:30pm Monday–Thursday
Course Fee 3,750 USD

Discover which fundamental curatorial skills are now crucial to success, by examining today’s most influential curators, and seminal exhibitions, and analyzing how the ‘business’ of curating has evolved over the last two decades.

Fundamentals of Art Business
Dates: June 4–28
Time: 10:00am–12:30pm Monday–Thursday
Course Fee 3,750 USD

Learn about specific tools for analyzing and creating business structures in the art world in this broad and engaging introduction to business principles as applied to the arts.

Impressionism to Now
Dates: June 4–28
Time: 3:00–5:30pm Monday–Thursday
Course Fee 3,750 USD

In this intensive introduction to modern and contemporary art, students examine different movements, schools and the kinds of visual art-making practices that have proliferated since the late nineteenth century.

Contemporary Art in New York
Dates: June 4–28
Time: 3:00–5:30pm Monday–Thursday
Course Fee 3,750 USD

This course provides an insider’s look at today’s vibrant contemporary art market in New York through gallery, museum, auction house, artist studio and collection visits.

The Art of Fashion
Dates: June 18–29 (2 weeks)
Time: 3:00–5:30pm Monday–Friday
Course Fee 1,650 USD

While recent debates over “luxury” have dominated the discussion of art and fashion, this course looks at the historical, geopolitical, and practical aspects of these inter-related fields.

Exploring Contemporary Art
Dates: June 25–29 (1 week)
Time: 10:00am – 4:30pm Monday – Friday
Course Fee 1,350 USD

Join this full day, one-week course for a guide to contemporary art, surveying the trends and movements that have shaped the period in one of the most dynamic art markets – New York.


Emerging Markets in the Global Art World
Dates: July 9–August 2
Time: 10:00am–12:30pm Monday–Thursday
Course Fee 3,750 USD

Immerse yourself in contemporary art from emerging markets such as China, Korea, India, and the Middle East, and examine the dynamic developments in regions that lie beyond what was once neatly defined as “the West.”

Contemporary Art: Market Theory & Practice
Dates: July 9–August 2
Time: 10:00am–12:30pm Monday–Thursday
Course Fee 3,750 USD

Analyze the business aspects of the market for contemporary art by examining the primary and secondary markets, theories regarding value attribution and fluctuation in performance, and innovative market practices.

How to Run a Gallery
Dates: July 9–August 2
Time: 10:00am – 12:30pm Monday – Thursday
Course Fee 3,750 USD

What does it take to start and run a successful gallery? In this course students gain an overview of the gallery business, from initial funding and forming an artist roster, to exhibition planning and marketing strategies.

Art Marketing & Communications
Dates: July 9–August 2
Time: 3:00–5:30pm Monday–Thursday
Course Fee 3,750 USD

Examine the full range of marketing approaches visual arts businesses and organizations use to communicate about their activities, and build the reputation and credibility of their artists and their institutional brands.

Contemporary Art in New York
Dates: July 9–August 2
Time: 3:00pm–5:30pm Monday–Thursday
Course Fee 3,750 USD

Discover what’s happening now in the art world through this inside look at today’s vibrant contemporary art scene in New York, focusing primarily on cutting-edge work.

Legal Adventures & Misadventures in the Art World
Dates: July 16–27 (2 weeks)
Time: 3:00–5:30pm Monday–Friday
Course Fee 1,650 USD

Gain an overview of important legal issues and cases in art, by exploring subjects such as copyright, moral rights of artists, and freedom of speech.

Exploring Contemporary Art
Dates: July 23–27 (1 week)
Time: 10:00am–4:30pm Monday–Friday
Course Fee 1,350 USD

Join this full day, one-week course for a guide to contemporary art, surveying the trends and movements that have shaped the period in one of the most dynamic art markets—New York.

For information on Summer Study in New York please contact Lori Kornegay, Sotheby’s Institute of Art – New York, 570 Lexington Avenue, New York, NY 10022, Tel: 212.517.3929, email:

If you can’t make it to New York this summer, consider Sotheby’s Institute of Art – Online, which offers intensive, custom-curated courses through a clean, simple e-learning interface specifically designed for our students. For more information, visit our website at <>  or email:

About Sotheby’s Institute of Art
For more than forty years Sotheby’s Institute of Art has offered object-based, professionally-oriented education that draws creatively upon the resources of important art centers worldwide. At the Institute’s campuses in London and New York graduate-level programs and courses actively engage students in the dynamic international art world. Sotheby’s Institute of Art offers a variety of graduate programs, diplomas, semester courses, and summer study programs in London and New York. Applications are now accepted for entry in September 2012.

Art Museum Educator Seminar

Direct from the source:

August 5 -10 seminar with Rika Burnham in Chicago

This one-week summer seminar is designed for art museum educators who have
a special interest in gallery teaching.  TIME is hosted by the School of
the Art Institute in cooperation with the Art Institute of Chicago and will
be held August 5­10, 2012.


The TIME seminar proposes that a dialogical model of gallery teaching
provides unrivaled opportunities for people to see deeply and to think
together about works of art. TIME embodies the belief that good gallery
teaching helps visitors to find uniquely valuable pathways to the
experience and understanding of a museum¹s collections and special

** **

TIME includes the study of works of art in the Art Institute of Chicago,
discussion of the theory and practice of gallery teaching, a survey of the
literature and the history of teaching in American museums, and several
guest speakers. TIME is led by Rika Burnham, Head of Education at The Frick
Collection, and Elliott Kai-Kee, Education Specialist in charge of gallery
teaching at the J. Paul Getty Museum.


All mid-career museum educators with a demonstrated commitment to gallery
teaching are invited to apply. The* *deadline for applications is June 1,
2012. The application process is competitive: 15 candidates will be invited
to attend from the applicant pool. TIME is generously supported by the
Samuel H. Kress Foundation: course fees are waived for all selected
applicants; in addition, accommodations and selected meals are provided
free of charge by SAIC.


For more information about TIME please see the description and application
information on the Web site of the School of the Art Institute of Chicago
at Questions? E-mail us at:

Museums in the News

Welcome to our weekly roundup of news articles about museums.


Smithsonian scores with ‘Art of Video Games’ exhibit

Museum confirms that a still life is by Van Gogh

Colossal Juno lowered by crane through museum roof

Group calls for protection for UAE museum workers

Book Review: Making It In The Art World, by Brainard Cary

We’re going to have occasional guest reviews of museum-related books going forward. This is our first, by Tufts student Molly Braswell. If you’d like to review a museum book, please comment on any post or email the editor. If you’d like to review books, but don’t have a particular one in mind, we’ve got a long list to work through and can hook you up!

Making it in the Art World: New Approaches to Galleries, Shows, and Raising Money
By Brainard Cary

Brainard Carey’s book, Making it in the Art World: New Approaches to Galleries, Shows, and Raising Money, is written for artists who either want to establish their careers, or
propel and improve their existing careers. His book is a how-to guide with a workbook component. In the book Carey delivers information about how to be a successful artist,
mostly through personal anecdotes and experiences. At the end of each chapter he gives the reader space to answer some questions and respond to certain prompts; these sections are designed to keep the reader on track with his or her career. The workbook aspect is well thought out and helpful, but Carey’s reflections and tips in the chapters are often redundant and common sense. In my opinion, Carey missed out on a great opportunity to create an artist’s workbook, complete with a calendar/scheduling component. This, for the average artist who works from home and without a fixed schedule, could be really helpful. Where Carey misses the mark, however, is with the book’s content.

Carey is a working artist whose pieces have been exhibited all over the world, most notably at the Whitney Museum of American Art and MOMA. He owns a company called The Art World Demystified, which produces tools and materials designed to help artists further their careers. The pro and con of Carey’s book, is the use of his own personal experiences as an artist. On the one hand, it is nice to hear advice that has worked for someone; on the other hand, Carey’s delivery often feels patronizing. For example, the fact that the chapters are titled things like: “Getting into the Whitney Biennial” (which Carey did), makes the book seem a little condescending. Because most of his content is derived from personal experience, the book sometimes reads as an ode to Carey’s genius handling of his career. Other times it reads as an advice column from someone who has “made it.” The truth is that Carey probably does know what he’s doing, and his success and career are proof of that. However, the book would be much more successful if the anecdotes were less prominent, and if there was more of a focus on the practical advice.

This book, if it had been a workbook with practical how-to sections, would have been successful and very useful. The short chapters and approachable writing make for a quick and easy read, and Carey is right to assume that working artists might need frequent support and a few nudges to help them stay on track. The book excels in its ability to make the reader accountable for his or her career. But Carey’s helpful advice is often overpowered by the many anecdotes about his successes, and the advice is hard to take seriously when it is surrounded by common sense suggestions like: don’t drink too much at work parties, and always write thank you notes.

As someone who tried, albeit for only a short time, to make art for a living, I was anxious to read Carey’s book. In my opinion, the art field does need to be taken more seriously, and likewise, artists need to take themselves more seriously. It is clear that to be a successful artist one must approach art like a job, and there is obviously a need for  helpful, how-to books that explain this. Carey is somewhat successful in his attempt. While he is right to use his own experiences to help get his points across, he should have relied on them less and he should have spent more time on the practical tips and suggestions.

Learn, Laugh, Love, Part II: A Series of Mini Workshops with Maximum Impact

From NEMA:

Learn, Laugh, Love: Part II
A Series of Mini-Workshops with Maximum Impact     

Learn, Laugh, Love brings together individuals from various professional positions and levels of seniority, both of local and national stature, to encourage those who are just entering the field, especially career changers, students, and those who are seeking to further their current position, in three informal learning situations, where networking at peer to peer and peer to mentor level are key components.
Each workshop includes light refreshments and is $15 for NEMA Members,

$25 for Non-Members. Members can register for all three workshops for only $40, a savings of $5!

The registration deadline is one week prior to each workshop.

Space is limited! Register early!

LEARN: To Museum Studies or not to Museum Studies? Considering Grad
Wednesday, March 28, 6:00 to 8:00 pm
Metropolitan Waterworks Museum, Chestnut Hill, MA
Registration Deadline: March 22
Is it time to consider a graduate degree? Interested in the museum studies, but not sure what the degree will cover, and if it is the right fit? This topic, in some ways controversial, has gained steam lately, with the January/February 2012 American Association of Museums’ Museum magazine tackling the topic in two articles, and with countless blogs following suit in support, defense, or defiance of museum studies programs. Join a panel of professors, teaching assistants, thesis directors, and alumni from museum studies and related programs throughout New England as we contemplate the validity of such programs, the respect given (or not given) to graduates, the weight of academic degrees when seeking employment, and the implications of museum studies on the museum field.

Register Now

There will be a networking event after the workshop:
1928-1960 Beacon Street
Brighton, MA 02135
RSVP here for just the networking event
LAUGH: From the Trenches: 10 Things I Wish I Had Not Learned the Hard Way
Thursday, April 12, 6:00 to 8:00 pm
Norman B. Leventhal Map Center at the Boston Public Library
Registration Deadline: April 5
The wisdom of crowds is great, but how about learning from individuals who learned the hard way? This workshop will bring together a group of more experienced young and emerging museum professionals who will share the biggest lessons they have learned on the job thus far. Each panelist will cover ten lessons they have learned the hard way, from how to approach new problems, to discussing issues with directors, how to work with difficult board members and more. Ample time will be provided to ask these not-quite emerging, not-quite mid-career professions questions you have about the field. Amusement and laughter are also on the agenda, as learned lessons, despite the pain they may have brought on at the time, are entertaining in retrospect!

Register Now

There will be a networking event after the workshop:
Connexion Lounge
Copley Place
110 Huntington Ave
Boston, MA 02116
RSVP here for just the networking event


LOVE: I Love My Job, But… Raises, Transitioning, and Advocating for More Responsibility
Thursday, April 26, 2012, 6:00 to 8:00 pm
Tufts University Art Gallery at the Aidekman Arts Center, Medford, MA
Registration Deadline: April 19
Feeling like you will never move beyond an entry level position? Not sure how to move from part-time, hourly positions, to salaried positions with benefits offered? How do you gain experience to move up the ladder? How do you escape the perpetual loop of needing the experience to get the job but need the job to get the experience? What can you learn from the findings of the 2010/2011 NEMA Salary and Benefits Survey and how can it help you when seeking a raise or a new position? Panelists will provide tips on self-branding, advocating for better positions and more responsibility, and discussing raises with your supervisors and directors.

Register Now

There will be a networking event after the workshop:
Orleans Bar and Restaurant
65 Holland Street
Somerville, MA 02144
RSVP here for just the networking event 

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