Knowledge and education: —PhD or equivalent in art history —Command of English, written and spoken—required —Working knowledge of other European languages—highly desirable. Salary will be commensurate with experience. This experience was fundamental to my work now, and made me realize how hard you had to work to make art relevant to a wide range of audiences.
I loved the high school kids who pushed and challenged me, forced me to step up my public speaking skills, and taught me how to express my passion for the visual arts. These kids also taught me how important it is to understand your audience. Nuku: I had a whole other career before I found my path into art and the museum world. After I left university with my first degree, I worked in the city of London for 10 years during my twenties.
It was a great place to get experience and cut my teeth in the business world. We worked with all the major U.
Paul Getty Trust, Barnes Foundation, and so on, and I had the opportunity to travel and learn about business and the corporate world.
I took a deep breath and decided to leave and lean into the hunch that I had always had about art and museums. All I had to do was follow the thread that had been continuous in my life.
So I made the decision to go back to study, focusing on art history and a move into curating. I opted to study at the Open University, which is a distance learning model where you build credits with a range of courses you select for yourself. The Art and its Histories course I took was grounded in critical theory and opened my eyes to the histories that have been elided from the conventional canon of art history promoted and upheld by the art world.
The courses went against the grain and punctured accepted histories, drawing out distinctions, such as craft versus art, and highlighting the power dynamics and political hierarchies that have led to the elision of women artists and the marginalization of Asian and African art. Oceania has always been at the margins of the margins!
The project of history and art history is constantly being reevaluated, which is what keeps it dynamic and fluid. If we can unpack those histories and reinterpret them for our times, we can understand ourselves better. Rosenheim: I curated my first exhibition while still an undergraduate student: a retrospective of the American photographer Walker Evans.
The show was accompanied by a fully-illustrated catalog and was presented at several venues in Spain and Italy. I started my museum career as a curator in the fall after my college graduation. Rockefeller Jr. Yount: I graduated from NYU a semester early—on my return from Italy—and was lucky to get an entry-level job at the Isabella Stewart Gardner Museum in Boston, working with the director on a publication about Mrs.
While the Gardner was not a collecting institution, I learned about general museum practice and found I was most drawn to curatorial work, which required an advanced degree. I secured my first curatorial position, in Philadelphia, while finishing my Ph. From there, I moved on to museums in Atlanta and Richmond before returning to New York to head the American wing at the Met—a career trajectory in which the common thread has been my interest in expanding the canon of artists to be more inclusive and ensuring my professional practice is grounded in socio-historical contexts that resonate with visitors today.
Christiansen: I went immediately to UCLA for graduate work in medieval studies, switching soon to art history. There was a draft looming. This proved a pretty ominous incentive to make decisions. Orenstein: It took me about nine years between graduating college and landing my first real full-time job as a curator.
But that time was mostly spent in graduate school. I feel very fortunate to have landed where I am today. There are not a lot of jobs in this field, so I like to tell people that you have to have every degree and qualification in the world and then be at the right place in the right time with all the stars aligned and have someone notice you. I got my MA and continued on to the Ph. The Institute is located a few blocks from the Metropolitan Museum, and that was important for getting my foot in the door.
Most important for me was the curatorial studies program that I participated in as I was working on my PhD course work. Each of the three classes in the program involved working with someone at the Met, and by chance the second class was with a curator in the department of prints and photographs, as it was called at the time, which is the department that I head now. Graduate school was not only important for getting the degree and learning about different aspects of art, but it is important for very practical reasons.
You learn how to take on a new subject that you may know more about than anyone else and how to research it and turn your conclusions into a written form that you can share with others.
Since , Tommasino has been serving as associate curator of modern and contemporary art at MFA Boston, inaugurating a newly created position. The appointment marked his second stint at the institution. A decade earlier, in , he was an intern at MFA. Previously, Tommasino was a curatorial assistant in the Department of Painting and Sculpture at the Museum of Modern Art, from He worked on many exhibitions, programs, and projects at MoMA.
The exhibition was the first to reunite the Corps, a multidisciplinary performance collective, since the death of its founder, artist and musician Terry Adkins. In addition to his scholarship and curatorial activities, Tommasino has prioritized arts education and community service.
He is fluent in French and Italian and proficient in German and Spanish. As an undergraduate, he studied the history art and architecture and romance languages and literature at Harvard University. He has continued his studies at Harvard. Previously, she was senior curator of painting and sculpture at the Indianapolis Museum of Art. Elizabeth Kornhauser oversees the American paintings collection, with a specialization in 18th-century portraiture and 19th-century landscape.
Previously, she served as deputy director, chief curator, and Krieble Curator of American Paintings at the Wadsworth Atheneum. Met Blogs: Articles by Elizabeth Kornhauser. Catherine Mackay started in the American Wing as an intern in before joining the staff that same year.
Catherine works closely with Sylvia Yount, Curator in Charge, and oversees all the administrative functions of the department. She specializes in 19th-century art of the Americas, with a focus on the visual culture of landscape and conflict. At The Met, she conducts research on the permanent collection of American paintings and drawings and the upcoming exhibition, Winslow Homer: Crosscurrents. She holds a B. At present, she is a Ph.
Her forthcoming book, Water, Bones, and Bombs examines 20th-century American Indian art and environmental disputes in northern New Mexico. She also oversees the maintenance of permanent-collection files. As an organizer of the Collections Care Group, she works to create a forum for individuals to share their knowledge across departments.
Her areas of expertise include American textiles and period rooms. In her more than 30 years at the Museum, she has curated numerous exhibitions and installations, and has been the author or general editor of many publications, including Interwoven Globe: The Worldwide Textile Trade, — Met Blogs: Articles by Amelia Peck. Lauren Ritz joined the American Wing in , and is responsible for all administrative duties regarding gallery installations and rotations, special exhibitions, and labels.
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